Items

• Twisted Image #7
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Twisted Image #9
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Twisted Image #8: Businessman Special
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Twisted Image #6: Special Comix Art Issue
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Twisted Image #5: Special Gore and Violence Issue
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Twisted Image #4: Special Punk Fan-Zine Issue
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Twisted Image #3
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Twisted Image #2
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Twisted Image #1
  Twisted Image was a zine edited by Ace Backwords (and later co-edited with Bruce N. Duncan and Mary Mayhem) between 1982 and 1994. The early issues of the zine (with a circulation between 5,000 and 10,000) explore different aspects of the punk rock youth culture that was increasingly making its way across the San Francisco Bay Area. They feature record reviews, interviews, visual arts, comics, and sarcastic critiques of the political discourses of the time. In 1987, Ace changed the format of the zine from a tabloid to a monthly xeroxed newsletter mostly focused on comics that he continued publishing until 1994 (with a circulation of 500 copies).
• Too Far #5
  Too Far was a feminist punk-zine edited by Adrienne Droogas from […] to […] . The zine focuses on gender issues and sexuality, while also offering interviews with artists and commentary on the punk scene. Droogas was the lead vocalist for the all-female political hardcore band Spitboy and a regular columnist for Maximumrocknroll.
• Too Far #4
  Too Far was a feminist punk-zine edited by Adrienne Droogas from […] to […] . The zine focuses on gender issues and sexuality, while also offering interviews with artists and commentary on the punk scene. Droogas was the lead vocalist for the all-female political hardcore band Spitboy and a regular columnist for Maximumrocknroll.
• Tales from the Rat House #8
  Tales from the Rat House was a publication written for punks with a bent towards left wing politics and humor. The principle editors were Joe Britz, Larry Livermore, and David Hayes who were housemates in the so called “Rat House" in San Francisco. There was close affiliations with the band M.D.C. who once played on the Rat House roof to protest the motorcade of the Pope. Both Larry and David would work closely together on Maximum Rocknroll, the Gilman Street Project, and co-founded Lookout! Records.
• Tales from the Rat House #7
  Tales from the Rat House was a publication written for punks with a bent towards left wing politics and humor. The principle editors were Joe Britz, Larry Livermore, and David Hayes who were housemates in the so called “Rat House" in San Francisco. There was close affiliations with the band M.D.C. who once played on the Rat House roof to protest the motorcade of the Pope. Both Larry and David would work closely together on Maximum Rocknroll, the Gilman Street Project, and co-founded Lookout! Records.
• Tales from the Rat House #6
  Tales from the Rat House was a publication written for punks with a bent towards left wing politics and humor. The principle editors were Joe Britz, Larry Livermore, and David Hayes who were housemates in the so called “Rat House" in San Francisco. There was close affiliations with the band M.D.C. who once played on the Rat House roof to protest the motorcade of the Pope. Both Larry and David would work closely together on Maximum Rocknroll, the Gilman Street Project, and co-founded Lookout! Records.
• Tales from the Rat House #4
  Tales from the Rat House was a publication written for punks with a bent towards left wing politics and humor. The principle editors were Joe Britz, Larry Livermore, and David Hayes who were housemates in the so called “Rat House" in San Francisco. There was close affiliations with the band M.D.C. who once played on the Rat House roof to protest the motorcade of the Pope. Both Larry and David would work closely together on Maximum Rocknroll, the Gilman Street Project, and co-founded Lookout! Records.
• Tales from the Rat House #3
  Tales from the Rat House was a publication written for punks with a bent towards left wing politics and humor. The principle editors were Joe Britz, Larry Livermore, and David Hayes who were housemates in the so called “Rat House" in San Francisco. There was close affiliations with the band M.D.C. who once played on the Rat House roof to protest the motorcade of the Pope. Both Larry and David would work closely together on Maximum Rocknroll, the Gilman Street Project, and co-founded Lookout! Records.
• Tales from the Rat House #2
  Tales from the Rat House was a publication written for punks with a bent towards left wing politics and humor. The principle editors were Joe Britz, Larry Livermore, and David Hayes who were housemates in the so called “Rat House" in San Francisco. There was close affiliations with the band M.D.C. who once played on the Rat House roof to protest the motorcade of the Pope. Both Larry and David would work closely together on Maximum Rocknroll, the Gilman Street Project, and co-founded Lookout! Records.
• Tales from the Rat House #1
  Tales from the Rat House was a publication written for punks with a bent towards left wing politics and humor. The principle editors were Joe Britz, Larry Livermore, and David Hayes who were housemates in the so called “Rat House" in San Francisco. There was close affiliations with the band M.D.C. who once played on the Rat House roof to protest the motorcade of the Pope. Both Larry and David would work closely together on Maximum Rocknroll, the Gilman Street Project, and co-founded Lookout! Records.
• Lookout #1
  Lookout magazine started as a xeroxed community newsletter when Lawrence Livermore lived on Spy Rock, just a few miles north of Layonville, CA. Spy Rock was part of a constellation of locales across Mendocino and Humbdolt County that, since the late 1960s, had become increasingly popular among artists, hippies, and back-to-the-landers. Initially crafted in his solar-powered home, not far from the Iron Peak Lookout Tower, from which the magazine takes its name, the magazine engaged with local politics and tackled issues as diverse as environmental issues and countercultural philosophy. Over the years, following Livermore’s involvement with the Gilman Street Project in Berkeley and the punk-rock scene that loomed around it, Lookout’s focus shifted to music, which resulted in finding a whole new audience in the Bay Area and across the United States, especially among Maximum Rocknroll readers.