This is the album that sent a shockwave of empowerment through the nation's cultural underground. In 1985, Olympia, Washington band Beat Happening released their eponymous debut of lo-fi pop songs on K Records and challenged every conception held about music. At the center of the group was the enigmatic Calvin Johnson and his revolutionary vision of artistic creation. His foresight and industriousness allowed him to recruit to the K Records roster other free-spirited artists like Beck, Modest Mouse, and Built to Spill long before they gained widespread acclaim. This book, structured in abecedarian fashion, breaks down the fundamental components that defined Beat Happening's self-titled album. With a foreword by Phil Elverum, it's organized in a light-hearted yet incisive format, each of the book's chapters details a particular facet of the record-band members, historic shows, recording sessions, songs, and ideologies-parts reflecting the album as a whole. These alphabetic ingredients constitute a recipe book for feeding your creative spirit. Here is the story of a band that popularized do-it-yourself projects and home recording with four-track tape machines decades before the digital revolution would extend an open hand to garage bands everywhere. This is the story of musical pioneers. This is Beat Happening.

The box set contains two CDs and four books, which together tell the story of the Rondos from the period 1978-1980.
- CD 1 with a Rondos live concert from 1978
- CD 2 with all the Rondos songs previously released on vinyl between 1978-80
- Art in Revolution Calls: 228 page photo book from the Rondos archives
- A Black & White Statement: 84 page autobiography (bi-lingual) of the Rondos.
- Destroy the Entertainment: 60 page lyric book, in English
- Graffiti and Aerosols: 48 page comic book, with two new adventures of Red RatBetween 1978-80, the Rondos did 50 live shows. They released their records on their own independent label, King Kong Records, and together with three other bands (Rode Wig, Tandstickor Shocks, and Sovjets) formed the Rotterdam music collective "Red Rock," with whom they shared gigs, equipment, and rehearsal space. Punk for the Rondos obviously meant more than "entertainment," hence their slogan "Punk = Resistance." Their independently published fanzine Raket ("Rocket") quickly became the mouthpiece of many Dutch youth who turned their backs on consumerist society.
The Rondos operated from the house called Huize Schoonderloo, a building that they saved from demolition and turned into a living and working space. Here they operated a print shop, a rehearsal room, and the alternative bookshop "Raketbasis" ("Rocketbase").
The Rondos gathered a fanatic and devoted following, but unhappy with the fact that this devotion threatened to turn them into punk heroes, which had nothing to do with their own idea of punk, the Rondos called it a day.
The Rondos stem from the same generation of bands such as The Ex (in the Netherlands) and Crass (in England) with whom they shared equipment, stages, floor space, and in some cases, band members.

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 materialists 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.