924 Gilman Street

The Alternative Music Foundation located at 924 Gilman Street, almost exclusively referred to as "Gilman", is a non-profit, all-ages, collectively organized music club. It is located in the West Berkeley area of Berkeley, California. Gilman is widely regarded as the springboard for the '90s punk revival and is known for its associations with punk bands Green Day, Operation Ivy, Rancid, AFI, and The Offspring, and playwright Miranda July.

924 Gilman remains an active club, hosting over twenty concerts a month, and remains a local hub for community organizing, graffiti, and performance art. According to National Geographic, "It remains the only venue of its kind left in California — a place with no owner, where takings are split evenly between bands and young children can watch their older siblings perform."

History

Founding and early years (1986–1990)

Jim Widess purchased the building that would become the club in 1984, converting a previously unprofitable supermarket into a boutique workshop for caning. Widess was befriended by Victor Hayden in 1985, who expressed interest in using his industrial storage space as a venue for live music.Kamala P. in Edge (ed.), ''924 Gilman'', pg. 38.

In parallel, punk rock fan and ''Maximumrocknroll'' founder Tim Yohannan sought to found a local, all-ages music space where bands could play and interact with audience members free of the structure of conventional music promotion. Although Yohannan initially had misgivings about the 924 Gilman Street location spotted by Hayden, he was ultimately persuaded that the building was a suitable space for the project that was envisioned. Negotiations began with the landlord and in April 1986 a lease was signed.Tim Yohannan, "Interviewed by Hawk, April 1996," in Edge (ed.), ''924 Gilman'', pg. 7.

The organizing circle was expanded with a view to raising the $40,000 needed for rent and remodeling and for generating the volunteers necessary to make the construction project happen. Yohannan made use of his political connections and experience gained as a campaign volunteer for Berkeley Citizen's Action Group, an organization that had won majority control of the Berkeley City Council, and was able to call upon friends sitting on various city boards, urging their cooperation with the new venture. Berkeley mayor Gus Newport was supportive and project organizers took care of every detail into winning the tacit approval for the project from businesses and residents of the area.Yohannan in Edge (ed.), ''924 Gilman'', pg. 8. The landlord also proved himself reliable and supportive of the goals of his new tenants.

Tim Yohannan later recalled:

"We didn't know shit about construction, and people were coming out of the woodwork, just showing up and helping—people who had the skills we needed, carpenters, plumbers, electricians. We had to build new bathrooms, etc., and pass the inspections. We got our final approval from the city the afternoon of our first show, which was New Year's Eve, December 1986."

Rent on the 2,000-square-foot building was $2,000 per month at the time of the club's launch—regarded as a reasonable and manageable rate.

On December 31, 1986, the first musical performance was held at 924 Gilman. In its initial phase, hardcore punk shows were held three days a week—on Friday and Saturday nights as well as Sunday matinees. This quickly proved to be overwhelming for club volunteers, however, and as an alternative non-hardcore shows began to be run on Fridays by a separate crew of organizers. These Friday shows were more poorly attended than the Saturday night and Sunday afternoon hardcore extravaganzas but nevertheless served their purpose of providing an alternative venue to bands seeking to escape the grim reality of 21-and-over bar shows while allowing core volunteers to avoid the burnout associated with excessive event scheduling. This necessary scheduling adjustment had the serendipitous effect of diversifying and broadening the base of support for the 924 Gilman space.

Although the Gilman "warehouse" provided a vital all-ages venue and spawned a vibrant local musical scene, its success was neither inevitable nor linear. On September 11, 1988, citing the "physical and emotional exhaustion" of volunteers, ongoing problems with vandalism, and financial difficulties resulting from a $16,000 legal award to a slam dancer who had fallen and broken his arm in the pit, and expiration of the building lease, Gilman shut its doors."The Gilman Street Project, Dec. 31, 1986-Sept. 11, 1988: RIP — The Spirit Lives!!!" ''Maximum Rocknroll,'' whole no. 65 (October 1988). Reprinted in Edge (ed.), ''924 Gilman'', pg. 78. In a published eulogy by Tim Yohannan, Gilman was remembered as a fun place where "the old macho bullshit got attacked" and a stand had been made against "creeping racist and fascist crap." The club's core volunteers were not despondent, Yohannan noted, and hoped to "arrange special shows at other existing venues" in the future.

A note was scrawled on a scrap of paper and taped to the window by Yohannan, noting that the Gilman Street Project was "now closed permanently due to lack of the creative juices necessary to make it worthwhile."Yohannan note reprinted in Edge (ed.), ''924 Gilman'', pg. 79. Yohannan added that "apathy and taking Gilman for granted" had "led to a consumerist attitude" and that the decision had been made by core volunteers to "work together in other ways."

Although the September closure spelled an end to Tim Yohannan's personal connection with the club, core volunteers almost immediately reorganized to launch a "new club" at the 924 Gilman location, based upon the core principles established by the previous venture.Tim Yohannan, "More on Gilman Closing," ''Maximumrocknroll,'' whole no. 66 (November 1988). Reprinted in Edge (ed.), ''924 Gilman'', pg. 79.

The sudden closure of Ruthie's Inn in 1987 left a significant void for fans of heavy metal, and contributed greatly to Gilman's renewal.

Growth and mainstream notoriety (1990–2016)

Performance artist Miranda July used the club to stage her first play, ''The Lifers'', in 1992. The sixty-minute play was written and directed by July during her last year of high school, and was cast through solicitations placed in the East Bay Express. The play is based on July’s real-life correspondence with a prisoner serving a sentence for murder. July's unconventional request to stage a theatrical performance was embraced by the community, a gesture she would later refer to as indispensable to her career. Following this she wrote and directed two more plays at Gilman, both of which she appeared in as an actor.

The 1991 release of Kerplunk by Gilman mainstays Green Day brought widespread media attention to the club. Upon their signing to Reprise Records in 1994, Green Day was banned from the venue citing their "no major labels" policy. Their band's first record with Reprise, Dookie, would become an RIAA-certified Double Diamond record, selling over 20 million copies in the U.S. alone.

On May 7, 1994, an incident occurred in which former Dead Kennedys singer Jello Biafra was assaulted and injured. A group of rough slam dancers in the mosh pit, including one known by the pseudonym "Cretin," knocked Biafra into a chair, with another rolling over his legs, causing serious damage to one knee and leg.Tim Yohannan, "Something Ugly This Way Comes: Jello Biafra Beaten Up at Show," ''Maximum Rocknroll,'' whole no. 134 (July 1994), pp. 46–49 (MRR News pp. 1–4). A fight ensued, during which Biafra is said to have been knocked to the floor and kicked in the head by "Cretin." During the incident others are said to have taunted Biafra, yelling "rich rock star" and "sellout." Biafra was hospitalized, where it was determined that he suffered detached ligaments and a broken leg. Biafra was also forced to cancel a scheduled spoken word tour as a result of the injuries he suffered. Biafra held ''Maximumrocknroll'' indirectly responsible for the incident, claiming that his assailants were repeating allegations that he was a "rich rock star" made in a column that had recently appeared in the magazine.

Notable bands associated with the club during the early 2000s include Ted Leo, Chumbawamba, Sleater-Kinney, and Third Eye Blind.

Transitional years (2016–2022)

In May 2016, members of the club's community anonymously called for a boycott of 924 Gilman in online posts over Facebook and Tumblranonymous, "Boycott 924 Gilman Street 2016" https://boycott924gilmanstreet.tumblr.com/ May 18, 2016 citing several failures of the club in upholding its stated rules and ethics, notably a show featuring controversial hardcore punk bands Fang and Slapshot only narrowly being moved to an alternative venue, as well as allegations of sexism, transphobia and ableism made against some core volunteers at the time. Maximumrocknroll expressed support for the boycott, with then-editor Grace Ambrose stating that "Gilman's actions run counter to the spirit that propels MRR."

In 2018, the club was used as the backdrop of Green Day's music video for Revolution Radio.

Post-pandemic revival (2022–present)

The COVID-19 pandemic forced the club to shut its doors in 2020, leading to an unprecedented period of inactivity. During the closure, volunteers organized online fundraisers, virtual concerts, and merchandise sales to support the nonprofit financially. Reopening efforts in 2021 and 2022 focused on re-engaging the community, repairing the physical space, and updating operational policies to prioritize safety and accessibility.

By 2024, 924 Gilman had entered its highest-activity period since 1988. The venue currently hosts over twenty nights of performances a month, most of which are bills consisting of five to six bands. As of 2025, every performing band gets paid a percentage of ticket sales.

Venue

The club, which has never changed location, is housed in a 5,830-square-foot industrial building in Northwest Berkeley. The building served as a grocery cooperative in the 1970s, and was purchased by artisan Jim Widess in 1982 for use as a warehouse. Widess, who continues to own the property as of May 2025, operates The Caning Shop next door at 926 Gilman Street, a longstanding atelier that specializes in furniture caning supplies and gourd-based musical instruments.

The primary performance hall comprises over 3,000 square feet and includes the stage, audience standing area, and a front-of-house booth for controlling lighting and sound. In addition to the main hall, the venue contains several auxiliary spaces: an entry room used for ticketing and first aid, two restrooms, a small retail store (stylized as the “STOAR”), and two backstage areas designated for band preparation, volunteer coordination, and general storage.

A prominent feature of the venue is its "rules board," a large, hand-painted sign posted near the entrance that outlines the collective's core policies. These rules—such as “No Sexism,” “No Racism,” “No Homophobia,” “No Transphobia,” “No Drugs or Alcohol,” and “No Violence”—are maintained by volunteers, and are strictly enforced.

Organizational structure

Volunteer-run model

With the exception of security staff, the nonprofit is entirely volunteer-run. Each of 924 Gilman's departments are responsible for managing, training, and scheduling volunteers for all shows.

All management is done to maximize transparency, and open meetings are occur on the first and third Saturdays of each month. Any member of the public is welcome to voice opinions on the political discussions of the club. In order to be eligible to vote, individuals must have volunteered for at least one show and have attended at least one meeting in the previous six months.

Non-Profit Status and Governance

924 Gilman has no “owner”, no co-owner, and does not have regular fundraisers. Capital is managed entirely through ticket sales and donations. Since 2016, the venue has been officially operated by the 501(c)(3) nonprofit Alternative Music Foundation, managed by three corporate officers who are historically long-time Gilman volunteers.

As of 2025, the Alternative Music Foundation has been managed by a board elected by members of the community.

Rules and code of conduct

As one early participant recalled, "in order to not be closed down by local police we had to have rules, such as no drinking in or around the club, no fighting, things like that."Katja G. in Edge (ed.), ''924 Gilman'', pg. 21. This necessitated a regularized approach to security and resulted in events that were less violent than the 1980s hardcore norm, providing a more or less "safe environment" and sense of collective responsibility.

Josh Levine, a long time punk rock fan, band member, and 1986 Gilman volunteer later recalled:

"There was something in the air, you could say, back then. A good feeling, or a sense of pulling together, and unity among people who just wanted to see bands that was free of sexism, homophobia, racism, and especially violence. Shows were not as safe then—there were shows I went to before Gilman where I got beat up... Shows where I went to jail, just for being a punk rock kid out after curfew. And worse, shows where I saw people getting beat up by skinheads, or jocks, and there was not a damn thing I could do about it if I wanted to stay healthy. Those were the kind of things that motivated us to get involved."

At present, all shows at 924 Gilman are required to have security staff present. Narcan, fentanyl test strips, condoms, lubricant, and earplugs are available for free at all events. The club also maintains a strict code of conduct, with security staff trained to respond to emergencies and de-escalate conflicts when needed.

Legacy

Influence on punk and DIY culture

The venue saw the first public appearance of Operation Ivy, a thrashing ska-punk outfit that gained nearly instantaneous local popularity, and was a proving grounds for the young Green Day—the albums of whom helped to launch the Lookout Records empire of Larry Livermore and David Hayes. The eclectic sounds of this and other pioneer "Gilman bands" stood in contrast to the speed metal and ultra-aggressive hardcore that dominated the punk world during the middle 1980s.Ben Myers, ''Green Day: American Idiots and the New Punk Explosion''. New York: The Disinformation Company, 2006; pg. 33.

Staying true to the " independent spirit" was also a major component of the club's philosophy, and many of the bands that started out at Gilman found themselves on the outs with the club after achieving mainstream success. Green Day's song "86" from their album ''Insomniac'' is about being banned from the club after their major label debut ''Dookie'' was released.

Genres and musical styles promoted

Gilman showcases mostly punk rock, running the gamut from hardcore punk and grindcore to pop punk and ska punk, including as well industrial metal and, most recently, hip hop.

Bands with major label contracts, including AFI, The Offspring, and Green Day, are only allowed to play the club when membership approves that individual show, a policy that enabled Green Day to play at Gilman again at least twice since they signed with a major label. Many of the other bands that have played the club in the past are now defunct. The venue still serves the East Bay and Northern California hardcore scene by bringing local, national, and international acts to the East Bay.

Notable bands and artists

In the punk and hardcore scenes, Gilman was instrumental in the rise of bands like Operation Ivy, Crimpshrine, and Green Day, who originally performed at the venue under the name Sweet Children. Other seminal acts closely associated with the space include Bad Religion, Rancid, Fifteen, Blatz, Filth, Neurosis, Christ on Parade, Isocracy, Samiam, The Mr. T Experience, Jawbreaker, Pinhead Gunpowder, AFI, and Screeching Weasel, many of whom defined the East Bay punk sound or played key roles in sustaining Gilman's culture.

In the realm of ska punk and alternative, bands like The Uptones laid early groundwork in the Bay Area scene, while Dance Hall Crashers—founded by former Operation Ivy members—added a polished take on ska-punk. Skankin' Pickle became known for their genre-blending approach and high-energy performances at the venue.

The venue also played a pivotal role in shaping pop punk, with bands like Pansy Division—a trailblazing queercore act—finding a supportive platform at Gilman. Other notable groups include Tilt, famous for sharp political lyrics, and The Smugglers, a Canadian band who became regular visitors to the East Bay scene.

Gilman has also hosted performances by crossover thrash and sludge acts, including early sets by Vio-lence, one of the Bay Area's pioneering thrash bands. Political hardcore veterans like MDC and experimental punk bands like Fang also contributed to the venue's increasingly raw and unfiltered atmosphere.

In more recent years, Gilman has become a newly relevant hub for modern and emerging acts, hosting early shows by bands like The Story So Far, The Linda Lindas, Set Your Goals, Ceremony, and Shannon and the Clams.

In popular culture

A 2004 history of the club, ''924 Gilman: The Story So Far'', was written and edited by Brian Edge, who collected memories and anecdotes from many of the seminal contributors to the club's day-to-day operations from 1986 through publication in 2004.

The venue is the subject of a 2008 documentary by Jack Curran, ''924 Gilman St: Let's Talk About Tact & Timing...'' produced by record label Alternative Tentacles.

The 2017 documentary Turn It Around: The Story of East Bay Punk largely centers around Green Day and their history at 924 Gilman. Other interviewees include Kathleen Hanna, Tim Armstrong, Larry Livermore, Penelope Houston, Tre Cool, Ian Mackaye, Jello Biafra, and Miranda July, among others.

The 2025 film Freaky Tales is partially set at 924 Gilman, depicting a fictionalized account of a clash between punks and nazis in the late 1980s.

Gallery

See also

* Punk rock in California
* Lookout! Records
* Adeline Records
* ''Cometbus''
* '' Flipside''
* '' Razorcake''
* ''Slash''

References

External links

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{{Coord, 37.879632, N, 122.299308, W, region:US-CA_type:landmark, display=title

Buildings and structures in Berkeley, California
Social centres in the United States
Hardcore punk
Music of the San Francisco Bay Area
Music venues in the San Francisco Bay Area
Nightclubs in the San Francisco Bay Area
Punk rock venues
Music venues completed in 1986
1986 establishments in California
All-ages DIY venues in the United States