Kendra Steiner Editions

February 21, 2017


Filed under: Uncategorized — kendrasteinereditions @ 5:13 pm


poetry chapbook by BILL SHUTE

composed June-July 2016

edition of 41 hand-cut, hand-assembled copies

$6 US postpaid / $7 elsewhere postpaid

payment via paypal  to     django5722(at)yahoo(dot)com

please leave note with your order letting me know which items you are ordering and your mailing address…..thanks!


“He who can describe how

his heart is ablaze

is burning on a small pyre”

–PETRARCH, from Sonnet 137


APPROACHING THE APPARENT was composed here in San Antonio in June-July 2016, after returning from my “writing vacation” in central Louisiana, and in it I transpose some of the ideas found in the KENA UPANISHAD into contemporary Texas-based imagery and particulars.

Those of you who have been readers going back to TWELVE GATES TO THE CITY: THE LABOURS OF HERCULES IN THE LONE STAR STATE, published by Word Mechanics in 2005-2006, know that many of my earlier poems grew out of spiritual themes, but for me issues of that nature must be grounded in the particulars of the real world to have any real use or significance. As the old saying goes, anyone can be a monk in a monastery—however, can you find the transcendent in that abandoned strip mall or that dollar store (see Wyatt Doyle’s  book of photographs DOLLAR HALLOWEEN for a fine example of an artist who CAN) or that job bagging groceries or that noisy crime-ridden apartment complex you live in? When I have dealt with spiritual themes, I’ve tried to do that. You might also want to check out one of the pieces written during my Louisiana sojourn of May 2016, REVELATION IN SLOW MOTION (see bottom of page for that one), for another piece rooted in a spiritual text. Here’s part of APPROACHING THE APPARENT:


                          in the company of

                                     the older ladies

                                              poaching the eggs


                                         slipping me ice water

          while the boss checks her smart phone


                      their cavernous and smiling eyes

                                   have seen

                                            the void


                                      but refuse to  allow

                                                 the spark

                                                        to be extinguished




                                       the apparent



                                             on the pavement


                               on the western horizon

                                    heading out of El Paso


                         as  I



                                  they reside

                         in  my     space



KSE #368 (poetry chapbook), BILL SHUTE, “Find A Place To Die”

KSE #367 (poetry chapbook), BILL SHUTE, “Left-Handed Cherubs”

KSE #354 (poetry chapbook), BILL SHUTE, “Revelation In Slow Motion”

KSE #364 (poetry chapbook), LUIS CUAUHTEMOC BERRIOZABAL, “Make The Light Mine”

KSE #352 (poetry chapbook), BILL SHUTE, “Bridge on the Bayou”

As always, thank you for your support of KSE, as we now enter our 12th year, with over 365 releases of contemporary poetry and experimental music in that time, with a lot more planned for the coming months and years….

February 16, 2017

WHO KILLED JOHNNY R.? (Spain-Germany 1966), starring Lex Barker and Joachim Fuchsberger

Filed under: Uncategorized — kendrasteinereditions @ 8:20 pm


aka Wer kennt Johnny R.? ,  aka Una Bara (Coffin) per Ringo, aka 5000 $ für den Kopf von Johnny R.

Spain-Germany, released May 1966


with Marianne Koch, Sieghardt Rupp, Ralf Wolter

directed by  JOSE LUIS MADRID

review is of a widescreen Spanish-language print

WHO KILLED JOHNNY R.? is a Spanish-German co-production, made in the second half of 1965 and released in early 1966. Shot on location in Spain and with a largely Spanish crew, the German element (besides the financing from CCC) is most evident in the casting of the lead roles. What makes the film unique is that it pairs two actors who were major stars in popular film series in Germany, very different kinds of film series. Lex Barker was a huge box office draw in Germany  because of the many “Winnetou” films he made, based on the novels of legendary German adventure author Karl May, starring Barker as “Old Shatterhand.” Joachim Fuchsberger, on the other hand, had starred in many German “krimi” films based on the writings of the famous British mystery-crime author Edgar Wallace. He was often a detective or if not an actual detective or police inspector then someone who wound up tracking the criminals and solving the crimes in these eccentric and stylized crime films–he was the hero and the audience viewpoint character. Pairing Barker and Fuchsberger was a nice touch–the biggest star in German westerns with the biggest star in German crime films–and it made a kind of sense that the vehicle for the two would be a western, but a western with a crime/whodunit angle.

The film opens with a gunfight in a town square—-outlaw  Johnny Ringo and some of his men are holed up in a hotel, shooting it out with the local law. Ringo’s girlfriend Bea holds a white flag out the window and she is allowed to leave, at which point the gunfight resumes. Bea takes off to a local ranch where Ringo’s men have taken the family–mother and children–hostage while they hide out. We see some of Ringo’s men attempt to escape and then get shot. We never see Ringo, and the battle continues. Finally, it seems as though Ringo escapes and gets away on a horse. However, all of this is presented in a somewhat confusing way–the way a murder is depicted in a whodunit where we are supposed to see the crime but not who did it. At the ranch, some of the sheriff’s men approach, while simultaneously a lantern is knocked over and sets the house aflame. Some people escape, but the family who live at the ranch and were tied up and kept hostage DO NOT escape–they burn to death. Johnny Ringo is presumed dead, as a burned body is found wearing the ring his girlfriend gave him.


Some time later, Captain Conroy, the husband  (Sieghardt Rupp) of the wife who was killed in the fire–a military man who was away in service at the time–finds a kind of detective, Sam Dobie, who is played by Lex Barker, and tries to hire him to find Johnny Ringo. Barker explains that while the well-paying offer is tempting, most everyone believes Ringo is dead, so he can’t find someone who is dead. However, the Captain convinces him to simply find out what happened–if he’s dead and Barker can prove it, then that’s fine. He’ll still get paid. Barker then poses as a somewhat dude-like, somewhat milquetoast (!!!!) gun salesman, selling a new repeater pistol, travelling from town to town.

In one of those towns, he meets Clyde Smith (Joachim Fuchsberger), an unassuming fellow who has most recently worked as a miner, but who is an amazing shot. Because of that and some other circumstantial evidence, some people start believing that HE is Johnny Ringo. Barker hires him to do fast-shooting demonstrations from town to town to help sell the guns, and the pair then work as a team. However, people still pick fights with Smith, thinking he is Johnny Ringo, and Smith is clearly enjoying this situation and to some extent milking it along as he’s getting attention and respect that he’s never gotten before.

Clyde Smith is by far the most interesting and entertaining character in the film. Fuchsberger clearly is having a ball with the role, and he’s also got a real gift for comedy. His backstory is never explained, and he gives intentionally ambiguous answers to pretty much anything he’s asked.

During the period of their travelling, Barker is ostensibly still looking for Johnny Ringo, though he is very private about it and mentions it to no one (only he and the Captain know). Then Ringo’s old girlfriend Bea (Marianne Koch, like Rupp also someone who’d appeared in A FISTFUL OF DOLLARS) shows up in the town where the gun company Dobie and Smith are working for is located. At this point, the action heats up, the Captain re-connects with Sam Dobie, the suspense multiplies, and the film heads toward a climax (which I will not give away).


Director Jose Luis Madrid helmed 21 films in Spain between 1960-1984, but none of them ring a bell with me (and I’ve seen many Spanish productions of the period)–I would guess that few if any of those other films were available in English dubs or made available to US television. He’s certainly good with actors, and he uses the widescreen composition well. Except for some of the sets, the film does not really look like an Italian western….and it’s in a totally different universe from the Winnetou westerns which were shot on location in the former Yugoslavia and featured panoramic landscapes and sweeping western-themed symphonic musical scores. There’s no shortage of extras in crowd or bar scenes, and the dancehall and theater scenes are well-staged, so no doubt because of the stars involved with this, it had a somewhat higher budget than the usual Spanish western that would star someone like, say, James Philbrook or Robert Woods.


As a Lex Barker fan since childhood, I’d wanted to see this for decades. Barker’s German “Winnetou” westerns were shown often on TV in Denver, as were his Dr. Mabuse films and his non-Winnetou western with Pierre Brice, A PLACE CALLED GLORY, a favorite from my childhood. In the last few years, I’ve tried to track down Barker’s lesser-known European films in English-subtitled versions, and finally found a great-looking Spanish-language letterboxed print from ETC. You can also watch this same subtitled version (semi-full-screen, not fully letterboxed) on Amazon Prime…and if you are willing to watch it with ads, you can watch it FREE without even being an Amazon Prime member (I did to see what it looked like)! This was Barker’s final NON-WINNETOU western. He looks great in it, and for most of the film he’s pretending to be something of a greenhorn, so there are a few comedic sequences related to that…but there are other levels of artifice going on here too, and Barker manages to capture that complexity well. Although the film is not presently (to my knowledge) available in English, I can’t imagine any of Barker’s fans NOT enjoying seeing him in it…unless they can’t watch a film with subtitles.


The real treat here is Joachim Fuchsberger (right in the picture below, looking vaguely like Harry Morgan in that pose). He’s by far the most interesting and complex character in the film, and when the film is over, he’s still the one we know the least about. His comic timing is perfect, he can pose as bumbling when he needs to, but he can also make the people in the towns they visit believe that he is outlaw Johnny Ringo, even when on the surface his character is telling everyone who’ll listen that he IS NOT. Fuchsberger had a sixty-year (!) career in German cinema, playing a wide variety of roles. Many years ago I reviewed a 1972 children’s action-comedy film he starred in (SUPERBUG, SECRET AGENT/Ein Käfer gibt Vollgas–see poster at bottom) on the IMDB (mine is the review credited to DJANGO-1). He somewhat reminds me of the pre-Naked Gun Leslie Nielsen, when LN was working in dramas and crime films and TV guest shots, before he re-invented himself as a comic actor. Fuchsberger always has a certain charm and dynamic presence, so it’s not hard to see why he was so well-accepted as a leading man who could hold his own in the German crime films which had such an odd and off-putting post-Expressionist visual style and over-the-top musical scores by the likes of Peter Thomas. It takes an actor with gravitas to underplay his role in such a way that he is not overshadowed by the visuals and the music and the outlandish plot developments….and yet still commands attention and sympathy as the audience viewpoint character, the prism through which we view the proceedings.


While the film was released in Germany in 1966, it seems as though it took a while to get released in other countries, appearing 2-3 years later in most of them. That’s a shame because it’s enormously entertaining, and it’s not at all a typical Eurowestern. I’m not sure whether you will find the ending acceptable–the first time I saw it, I was quite dissatisfied, but the second and third time, it was clear that the seeds had been planted to justify the ending. However, some will find it a cheat.

Why is the film titled WHO KILLED JOHNNY R.? when the character is Johnny Ringo, and that is the kind of marketable character name you often see on Eurowesterns? A little IMDB research showed that at the same time this was released, there was another western titled KILL JOHNNY RINGO (see poster below), starring Brett Halsey, coming out, so presumably the change from RINGO to R was a last-minute change to avoid confusion.

If you are a fan of Eurowesterns and you’re looking for something different….if you are a Lex Barker fan and want to see him in a role that highlights him well in a film you probably have not seen….if you are a fan of the various German Edgar Wallace crime films and you want to see star Joachim Fuchsberger in a VERY different setting and see him in a complex role with a good amount of humor in it….you should check out WHO KILLER JOHNNY R.? In the US, you can watch it free on Amazon Prime. It’s not the widescreen version I am reviewing, but it’s a good print….and it’s free (at least now, when I write this, it is).


poster for the film KILL JOHNNY RINGO, starring Brett Halsey, also released in May 1966



poster for the 1972 film SUPERBUG, SECRET AGENT, starring Joachim Fuchsberger, which I reviewed in 2008 at the IMDB (it’s still there–read it if you’ve got insomnia some night)

February 5, 2017

‘L’invincibile cavaliere mascherato’ (Italy-France 1963), starring Pierre Brice, directed by Umberto Lenzi

Filed under: Uncategorized — kendrasteinereditions @ 12:36 pm

‘L’invincibile cavaliere mascherato’

aka Robin Hood in der Stadt des Todes, aka Invincible Masked Rider,

aka Terror of the Black Mask

(Italy-France 1963) directed by Umberto Lenzi, starring Pierre Brice


French actor PIERRE BRICE will always be best known for his portrayal in many German films as WINNETOU, the heroic Apache chief taken from the pages of the novels of Karl May, usually paired with Lex Barker as Old Shatterhand (though in a handful of films, with either Stewart Granger or Rod Cameron). These films made Brice a superstar, particularly in Germany–until his death in 2015, he was being invited to Winnetou fan festivals, and his 2004 photograph on his Wikipedia page shows him signing autographs at such an event. While the films may have typecast Brice to some extent, he was fortunate that with the make-up and long black wig he wore as Winnetou, when he was NOT in the role, he looked a bit different, and one’s first impression was not to shout out, “hey, that’s Winnetou.” He was featured quite well in the 1965 western (not a Winnetou film) A PLACE CALLED GLORY with his friend and co-star Lex Barker, a film that played widely in the US, distributed by Embassy Pictures–you can also hear him speaking his charming French-accented English in the American release of that film.

Brice also was quite the heartthrob in a number of non-Winnetou roles. Many years ago on VHS I saw him opposite Elke Sommer in the early Max Pecas erotic drama SWEET ECSTASY. This was distributed in the US by Audubon Films, which specialized in imported sex-oriented product in the early-to-mid 60’s, and Audubon issued a VHS tape of the film in the 90’s, which I highly recommend. One review of SWEET ECSTASY on a cult film website mentions Brice as resembling to some extent Alain Delon in Purple Noon, and that resemblance certainly did not hurt his getting those kind of roles. Below is a poster for the film under one of its alternate titles.


Another film that features him well (at least in its second half) is the one under review, ‘L’invincibile cavaliere mascherato,’  an Italian-French swashbuckler trading on the Zorro legend, with elements of Robin Hood thrown in,   which was made in 1963, after the success of the first Winnetou film, TREASURE OF SILVER LAKE.


This review is of the German release version of the film, titled ‘Robin Hood in der Stadt des Todes,’ which is literally translated as ROBIN HOOD IN THE CITY OF DEATH. As these 60’s European co-productions were shot MOS (without sound) and then dubbed into multiple languages, one could argue that any version is as good as another (although if Brice dubbed his own voice in the French version, that could well be the preferable one). Seeing a film starring a Frenchman, which is set in historical 17th Century Spain, and then has German coming out of the mouths of the cast is certainly a unique experience, though one gets used to it quickly and it gives the proceedings an interesting spin. Also, the German voice actors are well-suited to the characters they are voicing and do their best to “act” them–it’s not like some  English language voice tracks which sound like radio announcers cold-reading a script.


Brice is actually not featured much in the first half of the film, as the situation is being set up, the villains get to practice their villainy and build up audience hate, and Brice’s character, who is “called for” from a distant area, must travel to where the action is, creating a great deal of audience expectation.

Put simply, a number of regional power-brokers who are some kind of second-tier royalty jockey for power and influence in Spain. Don Gomez seems to be the most powerful, but he is old and somewhat feeble…and he also seems like a decent man, which does not get him  very far as he negotiates with the evil Don Luis. When he is killed, his daughter Carmencita will inherit his estate, and Don Luis can’t allow that to happen, so he re-instates an old informal promise between Don Luis and Don Gomez that she should marry Don Luis’s stepson Don Diego, whom he has not seen since childhood. He then basically takes Carmencita as a prisoner in his estate. He sends for Don Diego to come from a distant province, to fulfill that arranged-marriage promise.

However, at the same time, while they are waiting for Don Diego to arrive, a mysterious black-clad swashbuckling figure starts avenging the wrongs done by Don Luis, messing with his power structure, killing some of his enforcers, etc. Who might the mysterious figure be? Oh, and from the first frame of the film there is a subplot of a plague which is sweeping across Portugal and Spain, killing many and killing them quickly, so add that into the mix.


When Don Diego does arrive, he affects a kind of spoiled, wimpy pose–I’m somewhat reminded of Robert Lowery’s performance as Bruce Wayne in the 1949 serial BATMAN AND ROBIN (still my favorite Batman adaptation)–so no one will suspect that he’s the masked freedom-fighter and also so that he can work behind the scenes IN the palace….he even provides advice to his stepfather that plays upon Don Luis’s vanity  (so he’ll accept it) and is meant to weaken things even further. Then you have Carmencita falling in love with the masked avenger, who ironically is the man she is betrothed to marry and whom she considers to be a foppish coward she is not in love with, although she does think he’s a decent fellow.

Brice’s performance as the vain and cowardly Don Diego is quite funny and he affects many little “bits of business” (as Laurel and Hardy called them) to both convince the other characters that he is harmless and, as an actor, to call attention to himself when he is not the focus of the action in a particular scene. It’s always interesting to watch an actor play a character who is posing as someone else….and when the film is over and we realize that Brice’s character was not actually Don Diego (!!!), it adds a third level to this masquerade. Throughout the film Brice winds up playing a few different characters, though all in the same body (you’ll see what I mean when you watch it–I don’t want to give too many spoilers), and he handles all convincingly. He can make you laugh as the foppish Don Diego, he can thrill you as the masked cavalier, and he can inspire you in his final and real persona. I also noticed that in the climactic fight sequence Brice is doing some of his own stunt work, including jumping onto tables while fighting without missing a beat. Bravo!

And speaking of masquerades, the climactic scene of the film takes place at a Masquerade Ball, which is the perfect setting for a film whose protagonist is a masked avenger. As everyone who was abused by the evil Don Luis joins with Brice to give the Don his fitting  comeuppance, the audience feels a great sense of satisfaction….also, the climactic swordfight at the ball is very well choreographed, very well shot, and shows the attention to detail in action scenes which director Umberto Lenzi always tried to bring to this crime and action films (when he could–in some of his later films for Italian TV he was hampered by quick shoots and low budgets).

Where do you begin with director Umberto Lenzi? Double-checking his IMDB credits to remind myself of films I’ve forgotten, I see that I’ve already written about one of his films on this blog: CATHERINE THE GREAT, starring Hildegarde Knef (just use the search box here to find that review). I’ve seen probably 25 of his films, ranging from the early 60’s historical ones (Queen of the Seas) to peplum (Messalina vs the Son of Hercules, with Richard Harrison) to Eurospy (008:Operation Exterminate) to Spaghetti Westerns (Pistol for a Hundred Coffins, with Peter Lee Lawrence and John Ireland), to the exciting series of erotic thrillers made with star Carroll Baker, to war films (Desert Commandos, with Ken Clark, where the Germans are the heroes!), to Giallos (Seven Blood Stained Orchids) to some of the greatest 70s Eurocrime films (Gang War In Milan, Syndicate Sadists, Almost Human, Violent Naples, and the amazing The Cynic, The Rat, and The Fist), and finally the Italian Cannibal genre. He drifted into Italian TV movies in the 80’s and early 90’s, and many of those wound up on video overseas, very much welcomed by his many fans. He always had excellent taste in actors and was probably a good actor’s director, considering the performances he got out of people. Look up my IMDB review of MEAN TRICKS (1992), his last film—-a low-budget crime film shot in the Caribbean and starring CHARLES NAPIER (!!!) who is given free rein to create a character who should be in the “renegade badass cop” hall of fame (it’s almost on the same level as Nicolas Cage in Bad Lieutenant: Port Of Call New Orleans)—-and you’ll see that the master, Umberto Lenzi, did not lose his panache and his ability to create a fast-moving, entertaining product even when working in the reduced circumstances of Italian TV movies. ‘L’invincibile cavaliere mascherato’ is a solid accomplishment, a film that still entertains and excites 50+ years after its creation, and a proud entry in the Lenzi filmography.

Interestingly, while this is clearly a Zorro knock-off, the German dialogue (and the German release title) mentions Robin Hood, and in the final scene after the swordfight, he’s dressed somewhat like Robin Hood and mentions going back to his “homeland.”


Is this a classic? Does it need to be? What it is…is a solid, colorful, fast-moving, competently made European co-production genre-film with many nice touches and with a charismatic lead actor in a role that will be new to many who are mostly familiar with his performances as Winnetou. The locations are atmospheric, the sets capture the period well enough for the non-specialist, the supporting cast is impressive. This German-dubbed version is a beautiful letterboxed copy, so I could take in all the detail and the scope of the compositions.

The film is not hard to find in pan and scan English-language versions, and various versions surface from time to time on You Tube. With both Pierre Brice and Umberto Lenzi having many fans around the world, it’s a lesser-known gem perfect for that rainy night or leisurely Sunday afternoon….also, perfect 3 a.m. viewing for any night shift security guards out there (as I once was). I can easily imagine watching this again in a few months (I’m fairly sure I saw the pan-and-scan American TV version of Terror of the Black Mask back in the 1980’s).

February 4, 2017

ANDY WARHOL: THE LIFE YEARS, 1949-1959 (Hirmer Verlag)

Filed under: Uncategorized — kendrasteinereditions @ 4:05 pm


published by Hirmer Verlag (Germany)

with essays by Alexandra Barcal, Olaf Kunde, Paul Tanner

bi-lingual, with text in both English and German


One exciting by-product of the posthumous popularity of Andy Warhol in the last few decades has been the publishing boom related to All Things Warhol….and also the many international exhibitions taken from Warhol’s massive body of work.

As with the subjects of religion and sex, both of which were of great interest to the artist, in life and in the work, Warhol and his art have inspired both awful writing and analysis and transcendent writing and analysis. Similarly, there have been unimaginative exhibitions, well-done exhibitions aimed at a general audience, thematic exhibitions which choose work from a wide variety of styles and periods (the recent Andy Warhol: My Perfect Body show at the Warhol Museum in Pittsburgh being a good example of that), and what for me is the most exciting kind of exhibition (or exhibition catalog, since I cannot travel to Europe or Japan very easily), the deep study of a limited aspect of Warhol’s work, where a lot of little-known works are presented, and we are encouraged to “get inside” the creative process.


Examples of that would include the Warhol Liz book, the Ladies and Gentlemen collection (Skarstedt Gallery), and the amazing auction catalogs such as Christie’s Andy Warhol Coca-Cola 1962, where an entire book is devoted to numerous facets and perspectives and the backstory on ONE painting. For me, these are the most illuminating of the entryways into Warhol’s work.


While Warhol is universally known, I would claim that his WORK is not adequately known. As someone who has been following Warhol’s work for 40+ years now, I am discovering not just new individual works each year, but new bodies of work, or groups of related works. It’s exciting and exhilarating, to say the least, for this to happen with an artist who has been dead for 30 years, but it’s Warhol’s compulsive workaholic nature that is responsible for him investigating a certain motif and then producing dozens and dozens of variations on it. I would make the analogy of a variorum edition of an author’s work or the large edition of Eliot’s The Waste Land which shows each step in the editing process, but these Warhol artworks, often large artworks, have such a commanding presence and dominate whatever room they are in so much that they are truly on a more powerful physical level than any author’s editing notes.


I’m old enough to remember when Warhol could not get arrested in the late 1970’s and early 1980’s. The art world and the hipsters had turned against him. I loved his appearance on The Love Boat and his TV ad for Braniff Airlines, but that totally alienated many, as did his aggressive marketing of the celebrity portraits, including to the families of overseas dictators. Warhol did not have to worry about the art world breathing down his neck in the late 70’s and early 80’s–they didn’t care much anymore. He created large and diverse bodies of related works, and many of these did not even get an exhibition showing during his lifetime, and those that did get exposure largely got it overseas. With income flowing in, Warhol had the freedom to paint what he wanted in the style he wanted, to experiment with a technique or a motif that interested him and to try many different permutations of that technique or motif until he felt he had finished his investigation of that area and could move on to something else. Late-period Warhol is still severely underrated, and there are dozens and dozens of oversized art books devoted to it…some of which can still be found cheap at used bookstores in major cities (or college towns) with a good selection of art books. Rather than listen to me talking about it, why not go buy one yourself–it speaks far more eloquently than I can, and it will keep your interest over the years a lot longer!


Another period of Warhol’s work which is lesser-known and much underrated is his pre-1960 work, the commercial art and the private drawings. Again, a good number of books have presented many many unknown-to-the-public works, the majority of them never exhibited. For the commercial art, the ultimate collection–one you’ll treasure and find new delights in for a lifetime–is ANDY WARHOL: THE COMPLETE COMMISSIONED MAGAZINE WORK, assembled and contextualized by Paul Marechal (thank you, Mr. Marechal for taking on such a massive task–the results are incredibly rewarding to those who love Warhol’s WORK).


A related work, also assembled and curated by Marechal, is ANDY WARHOL: THE COMPLETE COMMISSIONED POSTERS, many of which come from his late period. I remember seeing some of these when they initially appeared (and neatly removing the pages of magazines that contained these ads), and they still can stop the viewers in their tracks today. These two collections are highly recommended (the poster book is the cheaper of the two, but the commissioned magazine work one is exhaustive and massive and a great buy even at its expensive price) and will provide years of pleasure.


Getting back to Warhol’s 1950’s pre-Pop drawings and to the book under review today, we have pioneering Warhol authority Daniel Blau to thank for the concept of ANDY WARHOL: THE LIFE YEARS and for the exhaustive research within Warhol’s archive AND within hundreds of copies of LIFE magazine from the 1950’s.

When I first saw this book announced, I thought to myself, “hmmm, I did not know that Warhol worked for LIFE extensively in the 1950’s,” and of course, he did not. What he did do was to use photographs from LIFE, during its classic 1950’s heyday, as a starting point for practice drawings as he was developing his signature drawing and then blotted-line style. A number of those drawings survive…and are reproduced in this book in a size large enough to study his lines close-up. That in itself would be enough, but evidently, Mr. Blau took the time to go through every LIFE magazine of the era and find the exact photographs and the exact advertisements that Warhol used to inspire these informal (who’s to say what’s “formal” and “informal”?) drawings….and the drawings and the LIFE pieces are often presented SIDE BY SIDE. Of course, if you care about such things, this book is a revelation.

In addition to the artworks, there are a number of essays which provide historical context, nuts-and-bolts explanations of Warhol’s technique (the essay  breaking down the essential differences between monotype, Warhol’s blotted line style, and klecksography is quite eye-opening—-especially because many of us are familiar with the monotypes of Matisse and Castiglione, and I’ve had the privilege of seeing examples of both up-close and in-person), a brilliant deconstruction of the audience and culture reflected in 1950’s LIFE, and a very important essay by Alexandra Barcal entitled “The Art of Reduction, or What’s In A Picture: On the Use of Photographic Imagery in the Early Drawings of Andy Warhol.” With photography providing a catalyst for much of Warhol’s work in ANY era, this essay provides an insightful explanation of a process that many students of Warhol have intuited but not had spelled out for us. Works from many Warhol periods–including the Campbell’s soup cans and the Brillo boxes, to cite two of his best-known motifs–rarely if ever attempt to replicate the photograph. There is a selective and reductive process going on–just look at a real Brillo box and then one of the Brillo sculptures, or a real Campbell’s soup can and then one of the paintings. It’s quite different, and there’s a consistency and a method to that difference. The roots of that selection and reduction, and then the alchemical transmutation of those elements into art through the medium of Mr. Andy Warhol—-the beginnings of that fascinating process can be found in these drawings inspired by images in LIFE Magazine. For that reason alone, this is an essential book in the Warhol canon. In addition, though, it’s a pleasurable journey alongside the development of Warhol the artist during a fascinating and still under-appreciated period. The drawings are striking as are the LIFE images.

Books like this tend to become available, stay in print for a while, and then fall off the map and go up in price. When I googled the title to get a cover image for this piece, I saw that the book is presently available widely in the US and at reasonable prices–you could even buy it at Wal-Mart’s online shop if you were so inclined (actually, Target is offering it at a price ten dollars less than Wal-Mart, and there’s not the guilt associated with a Wal-Mart puchase!). I’d suggest grabbing one now instead of procrastinating and then debating whether or not you should pay $120 for it in five years.

In Barcal’s “Art of Reduction…” essay, she introduces concepts/phrases such as OF BROWSING AND MARVELLING, REMARKABLY UNREMARKABLE THINGS, and THE HIGH ART OF ‘SERIOUS PLAY,’ which demonstrate to even the casual student of Warhol’s aesthetic the importance of this period and of LIFE’s influence on the artist. The roots of everything that came later are there….and there for YOU to explore and examine in this important and enjoyable and large volume.


January 11, 2017

Alfred 23 Harth’s long out-of-print first KSE album MICRO-SAXO-PHONE III is now available as a digital release on Bandcamp!

Filed under: Uncategorized — kendrasteinereditions @ 9:49 am

We’re honored to be releasing new works from ALFRED 23 HARTH, and in the last seven years we’ve put out TEN releases from Mr. Harth (eleven, if you count the KSE 10th Anniversary album, on which he appears). Those albums are not permanently in-print and tend to sell out in 8-10 months.

In answer to many requests to make the earlier, out-of-print KSE-A23H albums available once again, we’ve worked with Mr. Harth to start bringing them back in digital editions, supervised by the artist.

The first to be reissued digitally is the first of his KSE albums, the much-acclaimed 2010 release MICRO-SAXO-PHONE III!


ONLY $7 US at Bandcamp


“micro-saxo-phone. edition III”

originally KSE #175

recorded at LaubhuetteStudio, Moonsum, South Korea, 2010

total running time: 74:11 (17 tracks)


You can purchase the album for only SEVEN DOLLARS here:

Here are my original comments on the album, from the KSE website release announcement:

  In his new album MICRO-SAXO-PHONE. EDITION III, German free-music multi-stylist ALFRED 23 HARTH  has extended the vocabulary of the solo saxophone deep into the 21st century, creating a jagged, self-reflexive, multi-layered work that will stop listeners in their tracks.

   In jazz circles, the vocabulary of the solo saxophone is often traced back to Coleman Hawkins’ mid-40s recordings “Hawk’s Variations” and “Picasso.” In the late 60’s and early 70’s musicians as diverse as Anthony Braxton, Steve Lacy, Lee Konitz, and Sonny Rollins began re-investigating the possibilities 0f solo saxophone performance, opening the door for musicians ever since. Saxophonist ALFRED 23 HARTH is a man who has been on the cutting edge of the free-music world since his emergence onto the scene in the late 1960’s Germany, and his new album “micro-saxo-phone. edition III”  provides him a vehicle to use ALL aspects of his instrument, close-miking the keys and the reed, bowing the body, as well as using his virtuoso technique in passages that run the gamut from the lyricism of a Ben Webster to the highest chirps and the lowest rumbles, from clipped bursts to melting smears. In addition, he is multi-tracking new recordings, playing against older recordings of himself from the 70’s, weaving in strains of musique concrete and strands of spoken word into sound collages, and then using a Kaoss Pad to add further layers and to slice-and-dice the rest. “micro-saxo-phone.edition III”  is a truly unique work, one recorded especially for KSE by Mr. Harth just a few months ago. (2010 comments)

And here are Alfred Harth’s comments on the album, at the time of its 2010 release:

NOTES ON KSE #175   micro_saxo_phone, edtion III (MMX)

In early 2008 I again had started a kind of work-in-progress of solo recordings, called “micro_saxo_phone” which album title refers to the fact that I am using a sax of course + microphone (contact mics etc) of course for feeding devices as the Kaoss Pad or others + using the possiblities of my laptop. Together with this equipment I could give live performances which – for several reasons – did not happen often so far, though more probable within performances with others, as in the duo “Gift Fig” together with Carl Stone e.g.

“micro_saxo_phone, edition II”, CDR Laubhuette Production M10 from 2008 gave an overview about what I was trying to state within the traditional course of my former solo recording on Side A of the LP “Plan Eden” from 1986/7 where I had begun to use electronic devices & effects in combination with solo tenorsax. On “msp,eII” I used baritonsax, tenorsax, alto, sopran, bassclarinet, breath & saliva noise multiphonics and even bowed the saxes’ bodies (con arco) during blowing and doing percussion with the instrument’s keys.

On “msp,eIII” I extended the language by means of using the sounds of the key springs which create a kind of meditative Asian feel and also by texts.
I searched for finding a way to voice words during blowing (e.g. at the beginnung of “doublespeak” and tracks 14,15), or underlined words (and other stuff) that I had recorded on cassette in 1972 (when I was 23) or by dubbing an interview with Japanese art photographer Nobuyoshi Araki which I had recorded in 1998 in a kind of double voicing. The same track also contains a sample of Korean gagok which is a kind of fake classical music – from some decades ago – made in Korea. “doublespeak” is the exception – as a composition – within the solos, as is “chukyo” using some of my eguitar recordings (as well as track 3). There are also some “classical” solos (without all effects or edits): track 9,
10 (underlined alto solo from 1972) and 13.

With that title “doublespeak” I also refer to George Orwell’s term “doublethink”, which means the ability to believe contradictory ideas simultaneously. And there are more doublespeak titles here, as “surplussed”, “twonky” (software designers’ jargon inspired by a 1953 sci-fi film starring Hans Conried and Gloria Blondell about a TV that is really an alien life form) etc. Other titles refer to themes and authors that I am also dealing with these days. “chukyo” is a dedication to Chukyo University in Nagoya, Japan, where I had been invited by the above mentioned Carl Stone to lecture and had met Fomal Haut, a great artist & pioneer of computer graphics.

Alfred 23 Harth
, December MMX

Thanks to Mr. Harth for working with KSE all these years and these TEN releases.

If this digital release succeeds, then we’ll see about bringing back some of his other out-of-print KSE releases digitally. Please purchase this classic for your A23H library and help us get this digital release series in action!

January 10, 2017

THE LAST COLORING BOOK (New Texture) by Jimmy Angelina and Wyatt Doyle

Filed under: Uncategorized — kendrasteinereditions @ 2:23 pm



published in late 2016, 130 pages, paperback

available from


The idea factory that is NEW TEXTURE throws us yet another unexpected and fascinating and delicious curve with this new volume, THE LAST COLORING BOOK. On the surface, the book seems aimed at the segment of the adult coloring book audience who are cult film aficionados, and while it certainly will more than satisfy on that level, to me it’s a much more significant work.

As someone who treasures my old sets of “trading cards” such as Drew Friedman’s THE ED WOOD JR. PLAYERS and Robert Crumb’s HEROES OF COUNTRY MUSIC, I’m blown away by Jimmy Angelina’s artwork here–with a style that has echoes of woodcuts or etchings (I just saw an exhibition of Goya’s etchings dealing with war and insanity, in Austin last year, and it was stunning) but at the same time is hyper-real, the portraits seem to truly plumb the depths of feeling found in the performances of the 130+ actors presented. And unlike those smaller trading cards, these works are in full 8″ x 10″ format. It’s an amazing collection of performers, inspired by their most riveting roles (usually NOT their best known)…what can you say about a collection of portraits which includes TIMOTHY CAREY in MINNIE AND MOSKOWITZ, ROBERT BLAKE in ELECTRA GLIDE IN BLUE, WILLIAM SHATNER in IMPULSE, ROCK HUDSON in SECONDS, and even JAMES DARREN blowing the trumpet in Jess Franco’s VENUS IN FURS. There’s no list or guide to what actors and films are being depicted, but that only adds to the fun. That’s artist Jimmy Angelina’s part of the book.

The other part is the quoted dialogue from each film, chosen by Wyatt Doyle, found on each page with the portrait. With classic cult films such as SECONDS, MINNIE AND MOSKOWITZ, MARJOE, BAD LIEUTENANT, TOUCH OF EVIL, and PLAY IT AS IT LAYS represented, each well-chosen line of dialogue perfectly communicates existential truths, and it works EVEN IF YOU HAVE NOT SEEN THE MOVIE. Trust me, I have not figured out who all these people are yet let alone what all the films are, and the ones I don’t know work just well as those I do. However, when you DO know the film, you get new depths of meaning from the work.

THE LAST COLORING BOOK is a brilliant concept executed brilliantly. I can’t imagine the book ever getting old, and I’d guess it will also lead the reader back to films worth seeing over and over. The pairing of Angelina and Doyle is a match made in cult-film heaven.

If Warren Oates and Ernest Borgnine and Klaus Kinski are among your film favorites, you’ll treasure THE LAST COLORING BOOK, and I bet that if you leave it on your coffee table where guests can see it and thumb through it, half of them will wind up buying a copy.

Another satisfying and totally original offering from New Texture.

You can visit New Texture at   or on facebook

Jimmy Angelina’s art can be found at

THE LAST COLORING BOOK is also the perfect gift for the SERIOUS film fan in your life–the one who can rattle off John Cassavetes’ films IN ORDER. Get your copy NOW!

January 9, 2017

live racing returns to VALLEY RACE PARK (Harlingen, Texas)

Filed under: Uncategorized — kendrasteinereditions @ 6:15 pm


Since live greyhound racing went on hiatus at Gulf Greyhound Park at the end of 2015, the dog racing fan had to go out of state to find live racing….or be satisfied with simulcasting. The nearest active dog tracks are in Mobile, Alabama, and West Memphis, Arkansas. Fortunately, live racing has been revived here in Texas in a modest way, with Valley Race Park in Harlingen offering 4 racing dates per week from late November 2016 through early February 2017. We had the pleasure of visiting Valley Race Park for two nights in early January 2017 and are happy to report that it’s a fine facility with a good-sized and enthusiastic crowd and eleven exciting races each night.


Valley is located at 2601 S. Ed Carey Dr, just off Highway 77. Admission is only $2 per person, and for an extra $2 you can get a reserved seat down front with a TV monitor. The venue is large, there are a few simulcasting rooms with lots of seating, the beer is inexpensive and the track food is above average. I was particularly impressed with the race calling by announcer Sonny Cuellar. A good announcer can activate a crowd, and that’s exactly what happens at Valley.


This race meet runs through early February. While we can’t make it down there again in the next few weeks, we’ll be watching for future windows of racing at Valley Race Park, a friendly and exciting greyhound racing track that’s worth a visit from dog racing fans in South Texas!


And if that’s not enough, when we arrived on Friday night for the first race, “A Little Bit Is Better Than Nada” by the Texas Tornados was blasting on the sound system! What a great welcome that was–perfect accompaniment to greyhound racing and an ice cold Shiner.


January 4, 2017

MIO FIGLIO NERONE (Italy-France 1956), starring Gloria Swanson

Filed under: Uncategorized — kendrasteinereditions @ 3:08 pm



France-Italy 1956

starring Gloria Swanson as Agrippina, Nero’s mother

Alberto Sordi as Nero

Brigitte Bardot as Poppea, Nero’s mistress (and later wife)

and Vittorio De Sica as the philosopher Seneca, Nero’s teacher and advisor

Directed by STENO; director of photography and of special effects, MARIO BAVA


I was fortunate to have grown up during a period when the great GLORIA SWANSON was still alive and well and part of the popular culture. She might appear out of the blue in a TV movie or in a feature film such as the outrageous AIRPORT 1975 or she’d turn up in a bold pantsuit to chat on the MERV GRIFFIN show—-always a striking and ebullient figure, still radiating the star quality that made her America’s most popular actress in the late teens and early twenties, some fifty (!!!) years earlier, talking about her travels and her business interests and her beauty-and-fitness regimen, along with reminiscences of her glory days in Hollywood.

In those pre-video/DVD/internet days, if you wanted to see something with Gloria Swanson in it, other than her comeback performance as Norma Desmond in 1950’s SUNSET BOULEVARD, you had to find a public television station that showed “classic” silent films and wait for a Swanson entry (there were film festivals devoted to silent film, but as a child of 10 or 12, I would not have been hip to those or able to attend them!). I’d seen one or two of her films that way, but I remember seeing a TV Guide listing as a child/adolescent for an Italian film from the 1950’s starring Swanson, given one-star in the movie rating, playing on my local UHF station at like 2:30 a.m. It was called NERO’S MISTRESS. For some reason, I was not able to see it at that time, and for decades the film had been in the back of my mind, and I kept watching for another opportunity to see it.


Recently, I acquired a grey market DVD-R of the original Italian film, in beautiful letterboxed form and with English subtitles. In a way, I’m glad that I never did see the English-language NERO’S MISTRESS way back when….it may well have soured me on the film. Evidently, Swanson did not do the voice for her character in the English-language dub, and the voice used has been described as girlish and ill-fitting. Next, the film was not even released in the US until 6 or 7 years after, to capitalize on the fame of Brigitte Bardot, and to highlight Ms. Bardot, some of Swanson’s scenes were cut down and/or totally edited out, to make the film’s focus on Bardot, who was clearly NOT the focus in the original (this technique was also done with films that Rudolph Valentino had made as a supporting actor before his major stardom, which were re-edited later to make him the featured player when he was not in the original films). Even the title was changed. The original title could be literally translated as MY SON, NERO. It’s the MOTHER’s story, from her perspective, from Swanson’s perspective. Now it becomes the story of the mistress, Poppea, played by Bardot. I would still like to see the butchered English-dubbed edit for comparison’s sake, but I’ve now seen the original, in Italian, and I’m here to tell you that it is a comic gem and an important piece of Gloria Swanson’s post-Sunset Boulevard career.


(poster for the edited US release, which minimizes Swanson’s role and builds up Bardot’s)

MIO FIGLIO NERONE (My Son, Nero), released in 1956, is a raucous comedy played very broadly, built around the ultimate over-bearing Mother from Hell. Anyone who has seen a number of Italian historical films (as I have) set during the Roman Empire can attest that one of the more entertaining elements in such films, even in a feature that is not so good overall, is the depiction of Nero. He’s often played as foppish, petulant, self-absorbed, childish, vindictive, and a glutton. As interpreted by the great Italian comic actor ALBERTO SORDI here, he’s many of those things, but most of all, devoted to his annoying lute playing and singing, which he tries to inflict on as many others as possible, but they always try to find ways to get out of hearing it. Although Sordi is more of a leading-man type than, say, Dom DeLuise, the performance would fit right into a Mel Brooks film and the overall tone is not unlike something by Brooks. However, instead of a Brooks film where we might see Cloris Leachman or Madeline Kahn in the role of an over-the-top, shrewish mother, here we get Gloria Swanson, pulling out all the stops in her performance. I’ve read that the film was shot MOS (without live sound), and thus all the actors are looped, but whoever did Swanson’s voice in Italian clearly was familiar with Swanson’s phrasing and mannerisms, and the voice is quite fitting for the character. If Ms. Swanson did speak Italian, this is the voice she would have had.

Throughout the film, Nero tries to have his mother killed in many ways—-a nest of vipers, a ceiling crashing down upon her, being clubbed to death, etc.—but she ALWAYS comes back, and then downgrades her son on what a failure he is in that he can’t even kill an old lady like her! They have loud arguments, she hits him and he holds his arms over his head like a baby would, they insult each other, etc. It’s classic lowbrow comedy (something Italians understand well!), and it’s Gloria Swanson unleashed!

Gloria Swanson always took chances with her career….choosing edgy projects like SADIE THOMPSON and QUEEN KELLY at the height of her fame….playing the role of Norma Desmond in Sunset Boulevard with the risk of being typecast as a Norma Desmond-type by a generation or two who did not know the real Swanson and thus did not know she was acting (assuming she was “playing herself,” which she certainly was not). Doing this film, with an over-the-top performance and lots of physical comedy and an unglamorous (to say the least!) part, was not what one would expect someone concerned about safe career moves to do, as she tried to build on the comeback started with SUNSET BOULEVARD. However, Swanson never bothered with safe moves, and she surely had a ball playing this role. You can see in her eyes how much she is enjoying LETTING GO completely, and how she enjoyed the comic chemistry with Alberto Sordi.

MIO FIGLIO NERONE is not for everyone. Although beautifully shot and with fascinating production design (and in sumptuous widescreen and color), it IS a lowbrow comedy, and the best way to point that out is to observe that director STENO later did a number of the Bud Spencer “Flatfoot” comedies, which I happen to love, but which many film snobs would turn up their nose to. I found the film very entertaining and a wonderful missing-piece in the career of Gloria Swanson. If the above description sounds interesting to you, be sure to check it out if you ever get the chance to see it….the original Italian version, that is.


January 3, 2017

new album from MORE EAZE, “wOrk” (KSE #355)

Filed under: Uncategorized — kendrasteinereditions @ 11:32 am

MORE EAZE (aka Marcus M. Rubio)


KSE #355 (CDR album)

$8  USA  postpaid (see below for foreign postage rates)

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!


KSE is proud to offer our FOURTH release from MORE EAZE, the ongoing side project of Austin-based (though originally from here in San Antonio) composer and multi-instrumentalist MARCUS M. RUBIO. He has been working with KSE for a number of years on a number of varied projects, dating back to his college days at Trinity University. While Marcus has produced a staggering variety of works over the years, the MORE EAZE persona seems to be used for creations that re-contextualize bits and pieces of other works–it’s about re-cycling and building new structures from the ground-up with those re-cycled materials. The previous albums have worked in everything from Abner Jay-influenced banjo work to hip-hop inspired beats-and-samples sections to deconstructed songs. This new one will strike the average listener as a more purely electronic creation, but with an incredible attention to pointillist detail and with the strong poly-rhythms and driving momentum associated with the More Eaze albums. As usual, Marcus Rubio has provided us a set of composer’s comments on the album, and listening with that information in mind really opens up the work–however, a cold listen to this album with no idea what it was or who recorded it would also provide a fascinating experience. I can’t imagine anyone NOT being pulled into the world that “wOrk” creates–the sliced-and-diced violin work gives a textural richness to the pieces, and the piece featuring clarinet reminds us that this composer will always have one-foot in the contemporary chamber music world, a world he has been working to re-define with the MORE EAZE albums. Time will vanish as you listen to this album. And whether the listener’s background is in the visual arts, film-making, sculpture, sound-art, or in my case open-field poetry, the FORM of these pieces, the juxtapositions and the placement of the sound elements, is something that can be appreciated and analyzed over and over and over on multiple plays.

Very excited about this most recent MORE EAZE album….and also excited to announce that Marcus Rubio has created an all-new MORE EAZE track for our KSE 11th ANNIVERSARY compilation album, which will be out in late February. Until then, be sure to grab a copy of “wOrk”–and please note that KSE has kept the three previous MORE EAZE albums in print. Why not get all four, each of which is totally different but equally fascinating.

Marcus M. Rubio on “wOrk”: this album is made up of formal compositions and electronic improvisations that were later added to/edited into bizarre collage works. each piece here is united through a desire to explore various manifestations of hyper-reality through composition. “bagatelles I-IV” are part of a potentially ongoing series of works for violin and electronic playback that involve a process of converting extended technique performance to midi information that then triggers an array of selected sounds to serve as both an extension of and an accompaniment to the live/organic violin playing. “GQ DQ” places a clarinet soloist in a field of highly edited samples and electronics. The piece has a fixed backing track but also incorporates several moments of negative space while allowing the soloist to make several improvisational choices when approaching the material. “trio” is an older work that is inspired by a literal translation of philosopher Quentin Meillassoux’s discussion of object’s potential to behave erratically beyond our perception. The rest of the works were born out of improvisation on a single sound source that was either added to, processed, edited, or a combination of the three. ultimately, the collective works presented here seek to explode single sound sources through a variety of methods and techniques.


photo by Hanna Campbell

If you live in or are visiting Central Texas, be sure to visit Marcus Rubio’s Facebook page, under the name MARCUS MAURICE, where you can find out about his upcoming performances. You never know what he’ll be doing or with whom he’ll be doing it. Tonight, in fact, at the Volstead, he’s performing a solo guitar composition by Sarah Hennies, “Orienting Response”….

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what books you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

Cost in the USA is $8 postpaid.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!     Outside US: 1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $13.75 to mail ONE cdr without a jewel box to Europe or Asia!)

And while you are getting a copy of MORE EAZE (or better yet, ALL FOUR More Eaze albums), why not also get some of our other KSE cdr albums of top-shelf experimental music in its purest form. You’ll never read about THIS kind of thing in THE WIRE (thank God!). If you are ordering some of the older items found below, please list an alternate or two as some are down to just a few copies left. Thanks!



KSE #357 (CDR), SMOKEY EMERY / VENISON WHIRLED, “turning into”

KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “blank space”

KSE #353 (CDR), FOSSILS, “Camelot Towers”

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

KSE #334 (CDR album), BRIAN RURYK, “Actual Size…degress again” (sic)

KSE #333 (CDR album), ERNESTO DIAZ-INFANTE, “Tunnels” solo 12-string acoustic mantra guitar


KSE #328, LISA CAMERON & NATHAN BOWLES, “Liquid Sunshine” percussion duo

KSE #326, MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude”….cover art by Bob Bruno

KSE #322,  WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho In Japan”

KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

KSE #310,  MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

KSE #293, MORE EAZE (Marcus M. Rubio), “Stylistic Deautomatization” (reissued)

January 1, 2017

new poetry for 2017: FIND A PLACE TO DIE (KSE #368)

Filed under: Uncategorized — kendrasteinereditions @ 1:43 pm


poetry chapbook, KSE #368

composed December 2016 in El Paso, Texas

$6 in the US postpaid / $7 elsewhere postpaid

send payment via paypal to django5722(at)yahoo(dot)com and include note with what items you are ordering along with your mailing address….many thanks!

“The large stomach can only chew success”–Robert Lowell


As each year passes, and we look back upon where we are, I’m usually led back to the famous passage from the beginning of Charles Dickens’ A Tale Of Two Cities:  It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way –  …and as we look back upon the complex year of 2016, a year (to echo FDR’s statement about December 7, 1941) that will live in infamy for a long time, I once again come to the passage from Dickens. After all, it was a great year for the arts; it was a great year for KSE and for my own writing; it was a great year for my marriage and family; it was a great year for my extended vacations to Louisiana and Oklahoma; it was a great year for micro-breweries and micro-distilleries; it was a great year for silent-film restoration and appreciation; it was a great year for Bob Dylan, both in concert (he’s at his best presently–don’t miss him) and through his Nobel Prize win. In every corner of every town, in every life, there were small pleasures and small victories to be found. I often celebrate those in my poetry.

However, we poets must document–and carve-up and create junk sculptures of–the world as it presently is, both for posterity and for our own sanity. Thus, it’s time to put on my Jeremiad clothing….to be another voice crying out about what’s been lost and what we’ve become, perhaps without our knowing it. FIND A PLACE TO DIE is a post-Projective Verse poetic action-painting done with brushes dipped in blood and bile and sweat.

We finally gave in and married the abusive boyfriend….too comfortable & too pre-occupied to stand up against him….insulated in this world of afternoons, casting our fate to the open-source algorithms, because everything is better with bacon. Waiting for the improbable to happen, and puzzled when it doesn’t.

Welcome to 2017. There is a lot to look forward to, and a lot for each of us to achieve. I’ll be doing my part as well as I can….

POETRY CHAPBOOKS AVAILABLE PRESENTLY FROM KSE, all in hand-made editions under 50 copies:

KSE #368 (poetry chapbook), BILL SHUTE, “Find A Place To Die”

KSE #367 (poetry chapbook), BILL SHUTE, “Left-Handed Cherubs”

KSE #354 (poetry chapbook), BILL SHUTE, “Revelation In Slow Motion”

KSE #364 (poetry chapbook), LUIS CUAUHTEMOC BERRIOZABAL, “Make The Light Mine”

KSE #352 (poetry chapbook), BILL SHUTE, “Bridge on the Bayou”

Stay tuned. We have a strong release schedule of experimental music and contemporary poetry coming in 2017. Actually, we still have a few of the late 2016 releases to get out first in early 2017. Then our KSE 11th Anniversary Compilation album should be out in mid-to-late February featuring VANESSA ROSSETTO, MATTHEW REVERT, LISA CAMERON, ERNESTO DIAZ-INFANTE, JEN HILL, STEVE FLATO, FOSSILS, MORE EAZE, MASSIMO MAGEE, JOHN BELL, and BRIAN RURYK with all-new material, recorded especially for this project. As we enter our 11th year of operation, thanks to you all for your support. Please talk up our label/press with those who would enjoy  what we do.

Next Page »

Create a free website or blog at