The definitive visual narrative of a forgotten time and place in American indie music history: the Los Angeles post-punk scene of the 1990s. Jabberjaw was for Los Angeles what CBGB was for New York--the cornerstone of a movement, the emblem of an era, and the stage on which influential bands would cut their teeth. Bridging the gap between post-punk of the 1980s and the indie and grunge movements of the 1990s, and doing for the West Coast what the hardcore movement had done in D.C., Jabberjaw was a bastion of the counterculture that hosted bands from the obscure (Hole, Unsane) to the legendary (Nirvana, Pearl Jam). Produced in collaboration with the club owners and including contributions from fans, artists, and musicians, It All Dies Anyway covers Jabberjaw's brief but tangible influence on the art and music of an overlooked period in Los Angeles's countercultural evolution. Like CBGB and Max's Kansas City, Jabberjaw was a focus for a generation's cultural underground, allowing musicians and artists as diverse as Ween and Elliot Smith to explore material to the most immediate reaction of Los Angeles youth. Featuring illustrations from the owners' archives, the book includes flyers, handbills, and Xeroxed posters, photographs, handmade record covers, and Polaroids of the cafe, painting a portrait not only of the club but of a time and place in music history.

As low-budget films are sometimes called 'B movies', EVEN SILENCE NODS is a 'B epic'. It is an absurd book that tries to relay the misadventures of some stock characters in an icy jungle. Pure escapism: perhaps amusing; guaranteed stupid.

A collection of short texts: some are like weird stories for children, some are like testimonies from outlandish dimensions, some are like jokes without punchlines (anticlimactic on purpose), and some are just too convoluted to summarize.

A collection of short, enigmatic texts: some are nonsensical, some wrestle with biblical ideas, and some are simply strange.

A collection of texts that are at once finicky and childish.

A collection of infra-thin books: IMPATIENS is a textual experiment conducted for the purpose of amusing its author; THE RADIATOR GIRLS AT STRAPONTIN LODGE is a zany composition with feminine fruits; WHY I AM NOT A SURREALIST is not an essay but an absurd, escapist, untimely, obscure experiment; THE STICKUP CONTINUUM is a brief non-story, like a mosaic made from memories of so-called 'film noir' movies, that values style over substance and is purposely devoid of plot; NEW AMERICA is a textual composition with unsettled carriage returns; THE FLOATY-THING'S GO-TO BOY is something like a postmodern children's book for lazy adults; X PAGES OF HORN-FACE is a questionably faithful description of the contents of a wordless picture-book.

A purposely adolescent book, THE PERMANENT MODES depicts a few trusty stock characters and creatures from B movies who undergo various ill-conceived events. In addition to lacking respectability, the tale freely adds or drops facts, names, and plots whenever it feels like it. The book's five unnamed, unnumbered sections might be interpreted as disordered pieces of the same puzzle, or contradictory views of a difficult truth, or just plain baloney.

An absurd, ecclesiastically themed adaptation of Shakespeare's 'Comedy of Errors'

A book like any other except less interesting

A reversible gnostic juvenile fantasy tiff

A collection of short, enigmatic writings

An embellished mistranslation of St. Mark's gospel.

Additional Editors Are E. A. Steinhaus And R. L. Usinger. University Of California Publications In Entomology, V10, No. 6, May, 1955.

The fable of fables, complete with intro and moral.

Additional Editors Are E. A. Steinhaus And R. L. Usinger. University Of California Publications In Entomology, V10, No. 6, May, 1955.