The 924 Gilman Street Project, a.k.a. the Alternative Music Foundation, is an all-ages, non-profit, collectively organized music and performance venue (club). This book documents its history. Compiled by Brian Edge, the book features essays, articles, and writings from Tim Yohannan, Murray Bowles, George S., Mike S., Branwyn B., Charles L., Athena K, and many others, along with photos, show flyers, newspaper articles, etc. Includes a complete show list from December 1986 to December 2003.

In the tradition of Howard Zinn’s A People’s History of the United States, an engaging account of the last half-century of political discontent The history of the United States is a history of oppression and inequality, as well as raucous opposition to the status quo. It is a history of slavery and child labor, but also the protest movements that helped end those institutions. Protesters have been the driving force of American democracy, from the expansion of voting rights and the end of segregation laws, to minimum wage standards and marriage equality. In this exceptional new book, Dawson Barrett calls our attention to the post-1960s period, in which US economic, cultural, and political elites turned the tide against the protest movement gains of the previous forty years and reshaped the ability of activists to influence the political process. For much of the last half-century, policymakers in both major US political parties have been guided by the “pro-business” tenets of neoliberalism. Dubbed “casino capitalism” by its critics, this economy has ravaged the environment, expanded the for-profit war and prison industries, and built a global assembly line rooted in sweatshop labor, while more than doubling the share of American wealth and income held by the country’s richest 1 percent. The Defiant explores the major policy shifts of this new Gilded Age through the lens of dissent—through the picket lines, protest marches, and sit-ins that greeted them at every turn. Barrett documents these clashes at neoliberalism’s many points of impact, moving from the Arizona wilderness, to Florida tomato fields, to punk rock clubs in New York and California—and beyond. He takes readers right up to the present day with an epilogue tracing the Trump administration’s strategies and policy proposals, and the myriad protests they have sparked. Capturing a wide range of protest movements in action—from environmentalists’ tree-sits to Iraq War peace marches to Occupy Wall Street, #BlackLivesMatter, and more—The Defiant is a gripping analysis of the profound struggles of our times.

In this unorthodox guide to the City by the Bay, an intrepid columnist gives his twisted take on the city--from the bank that was robbed by Patty Hearst to the Chinatown restaurant with the rudest waiters in the city. 2-color throughout.

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

San Francisco’s rich and unique cultural history since its time as a gold rush frontier town has long made it a bastion of forward thinking and freedom of expression. It makes perfect sense, then, that both it and the surrounding Bay Area should prove to be a crucible for some of the most enduring and influential music of the rock and roll era. From the heady days of Haight-Ashbury in the ’60s to today, San Francisco and the Bay Area have provided a distinctive soundtrack to the American experience that has often been confrontational, controversial, enlightening, and always entertaining. Perhaps best known for the '60s psychedelic scene which included the Grateful Dead, Jefferson Airplane, Creedence Clearwater Revival, Santana, the Steve Miller Band, Sly & the Family Stone, and Janis Joplin, the Bay Area's rock and roll history twists and turns like Lombard Street itself. The first wave San Francisco punks wrought the Avengers and Dead Kennedys; punk later gripped the East Bay, giving us Green Day and Rancid. From the folk and blues eras through the chart-topping sounds of Journey and Huey Lewis & the News. The rock equivalent of Manifest Destiny carried wave upon wave of young musicians in search of fame, fortune and the great lost chord to Golden Gate City. San Francisco and the surrounding Bay Area have collectively produced countless key figures in rock and roll, from musicians to journalists to entrepreneurs. The modern concept of the vast outdoor rock festival took root in and around San Francisco. The Bay Area is also where music history happened to artists from almost everywhere else: San Francisco is where the Beatles played their final concert and the Sex Pistols fell apart; where the Clash recorded much of their second album; where a drug-addled Keith Moon passed out during a concert by the Who only to be replaced behind the drum kit by an eager fan. Rock and roll is baked into the Bay Area’s culture and story to this day. A guide to the places that shaped the local scene and world-famous sound, the Rock and Roll Explorer Guide to San Francisco and the Bay Area will take you to where music makers lived, rocked, performed, recorded, met, broke up, and much, much more.

Stacy Thompson's Punk Productions offers a concise history of punk music and combines concepts from Marxism to psychoanalysis to identify the shared desires that punk expresses through its material productions and social relations. Thompson explores all of the major punk scenes in detail, from the early days in New York and England, through California Hardcore and the Riot Grrrls, and thoroughly examines punk record collecting, the history of the Dischord and Lookout! record labels, and 'zines produced to chronicle the various scenes over the years. While most analyses of punk address it in terms of style, Thompson grounds its aesthetics, and particularly its most combative elements, in a materialist theory of punk economics situated within the broader fields of the music industry, the commodity form, and contemporary capitalism. While punk's ultimate goal of abolishing capitalism has not been met, the punk enterprise that stands opposed to the music industry is still flourishing. Punks continue to create aesthetics that cannot be readily commodified or rendered profitable by major record labels, and punks remain committed to transforming consumers into producers, in opposition to the global economy's increasingly rapid shift toward oligopoly and monopoly.

This is a true-crime story of the murder of an art form: punk rock. Gina Arnold has been witness to this gradual annihilation, and she's not shy about pointing out the perpetrators: Tipper Gore, Rolling Stone, Geffen Records, Miller beer, and even the progenitors of punk themselves, the Sex Pistols, are all implicated in the demise of independent music. In Route 666: On the Road to Nirvana, Gina Arnold gave us a road map to the defiant fury that shaped punk's harsh, musical bloodletting. But now Kurt Cobain is dead. And Courtney Love is playing shows sponsored by beer companies, MasterCard is financing the Monsters of Rock tour, and the Red Hot Chili Peppers are sporting free Airwalk sneakers. Arnold knows something has gone terribly wrong. Bad Religion, Metallica, Rancid, Rage Against the Machine, Soundgarden, Smashing Pumpkins, Green Day, Pearl Jam, the Fastbacks, Beastie Boys, Nine Inch Nails--find out who sold out, who stayed real, and what independent music must do now to regain its lost edge. In 1978 Sid Vicious mocked a Sinatra classic with his version of "My Way." Well, it's 1997, and punk has lost its way. In Kiss This Gina Arnold just may show it the way home.

The 170-year history of the San Francisco Bay Area told through its crimes and how they intertwine with the city’s art, music, and politics In The Murders That Made Us, the story of the San Francisco Bay Area unfolds through its most violent and depraved acts. From its earliest days when vigilantes hung perps from downtown buildings to the Zodiac Killer and the kidnapping of Patty Hearst, murder and mayhem have shaped the city into the political and economic force that she is today. The Great 1906 Earthquake shook a city that was already teetering on the brink of a massive prostitution scandal. The Summer of Love ended with a pair of ghastly drug dealer slayings that sent Charles Manson packing for Los Angeles. The 1970s come crashing down with the double tragedy of Jonestown and the assassination of Gay icon Harvey Milk by an ex-cop. And the 21st Century rise of California Governor Gavin Newsom, Trump insider Kimberly Guilfoyle, and Vice President Kamala Harris is told through a brutal dog-mauling case and the absurdity called Fajitagate. It’s a 170-year saga of madness, corruption, and death revealed here one crime at a time.

A comprehensive guide to American cross-country travel furnishes detailed descriptions of a variety of odysseys, including such routes as an Eastern Seaboard trip, Route 66, Highway 40, and the Al-Can Highway to Anchorage, along with listings of lodgings and eateries.

Music has always been central to the cultures that young people create, follow, and embrace. In the 1960s, young hippie kids sang along about peace with the likes of Bob Dylan and Joan Baez and tried to change the world. In the 1970s, many young people ended up coming home in body bags from Vietnam, and the music scene changed, embracing punk and bands like The Sex Pistols. In Sells Like Teen Spirit, Ryan Moore tells the story of how music and youth culture have changed along with the economic, political, and cultural transformations of American society in the last four decades. By attending concerts, hanging out in dance clubs and after-hour bars, and examining the do-it-yourself music scene, Moore gives a riveting, first-hand account of the sights, sounds, and smells of “teen spirit.” Moore traces the histories of punk, hardcore, heavy metal, glam, thrash, alternative rock, grunge, and riot grrrl music, and relates them to wider social changes that have taken place. Alongside the thirty images of concert photos, zines, flyers, and album covers in the book, Moore offers original interpretations of the music of a wide range of bands including Black Sabbath, Black Flag, Metallica, Nirvana, and Sleater-Kinney. Written in a lively, engaging, and witty style, Sells Like Teen Spirit suggests a more hopeful attitude about the ways that music can be used as a counter to an overly commercialized culture, showcasing recent musical innovations by youth that emphasize democratic participation and creative self-expression—even at the cost of potential copyright infringement.