Slash: A Punk Magazine from Los Angeles, 1977–80

$60 | LTD. $150

Softcover, 496 pages
8¾ × 11¾ in.
22.225 × 29.845 cm.

The legendary punk and new wave alternative weekly magazine Slash was founded in Los Angeles in 1977 by Steve Samiof, and published a total of 29 print issues before its demise in 1980 (though it had a second life as the punk label Slash Records, which was eventually bought by Warner Bros. Records in 1999). In its brief run, Slash defined the punk subculture in Los Angeles and beyond with the comic strip Jimbo by Gary Panter and photographs by Melanie Nissen, the co-founding publisher and longtime photo editor. Writing by Jeffrey Lee Pierce, Chris D., Pleasant Gehman and Claude “Kickboy Face” Bessy explored reggae, blues and rockabilly in addition to punk and new wave.

Slash diagnosed the nascent punk scene’s challenge to the music industry and established its own oppositional voice in the editorial of its very first issue, staking a position against disco, Elvis and concept albums, and declaring: “Enough is enough, partner! About time we squeezed the pus out and sent the filthy rich old farts of rock ’n’ roll to retirement homes in Florida where they belong.”

Slash: A Punk Magazine From Los Angeles, 1977–80 pays homage to the magazine’s legacy with facsimile reproductions of every cover from the publication’s run and reprints of some of the magazine’s best articles and interviews. These are interspersed with new essays, reportage and oral histories from Exene Cervenka, KK Barrett, Gary Panter, Vivien Goldman, Richard Meltzer, Cali Thornhill DeWitt, Chris D., Bryan Ray Turcotte, Chris Morris, Ann Summa and Allan MacDowell, among others, telling the story of this critical chapter in the history of American media.

The limited version includes a custom 3-panel folder containing 77 Los Angeles punk fliers from 1977 to 1980. Featuring such bands as: the Germs, Screamers, Weirdos, The Bags, X, Catholic Discipline, The Zeros, The Go-Gos, and many more.

Edition of 100
These fliers are offset printed reproductions, not originals.

Edited by Brian Roettinger & J.C. Gabel
Designed by Brian Roettinger
Hat & Beard Press #3

Belladonna of Sadness

$60 | LTD. $120

Hardcover, 220 pages
9 × 12 in.
22.86 × 30.48 cm.

Belladonna of Sadness, the final film in the adult-oriented Animerama trilogy, is one of the great forgotten masterpieces of Japanese anime. Loosely inspired by Jules Michelet’s 1862 history of witchcraft and the occult, La Sorcière, Belladonna of Sadness tells the story of a young woman who makes a pact with the devil to exact revenge after being raped and driven from her home. This brief synopsis, however, does no justice to the visual spectacle of the film, which proceeds as a series of still images flashing onscreen. Spectacular watercolor paintings, by Kuni Fukai, marry the art nouveau artifice of artists like Aubrey Beardsley to ’60s psychedelia; the film’s North American distributor, Cinelicious Pics, describes it as “equal parts J.R.R. Tolkien and gorgeous, explicit Gustav Klimt-influenced eroticism.” A legendary cult classic, Belladonna of Sadness has never been officially released in the United States—until now. This publication accompanies the restored film’s North American release.

Beautifully produced in a colorful, large-format edition, this volume provides an indispensible companion to this incredible animated masterpiece, including script outtakes, stills and other ephemera from the film, a text about the film’s painstaking restoration and interviews conducted with the film’s illustrator and composer, and director Eiichi Yamamoto.

First printings ONLY of the regular edition of the book will include a Blu-ray disc of the 4k restored version of the feature film Belladonna of Sadness (1973, dir. Eiichi Yamamoto), with Bonus Features including interviews with the director, composer and illustrator of the film, original trailer and more. Once the first printing of the book is sold out, the Blu-ray will not be included with any future printings—so order now.

The Limited Edition includes the Blu-ray release of the restored feature film by Cinelicious Pics; the official U.S. theatrical one-sheet 27 × 39 inch poster; an alternate theatrical poster featuring artwork only available with the limited edition, a Belladonna enamel jewelry pin; and a promotional postcard.

Edited by Jessica Hundley and J.C. Gabel
Designed by Morgan Ramsey
Hat & Beard Press #4
Split release with Cinelicious Pics

Jess Rotter
I’m Bored

Oct 2016

Hardcover, 88 pages
6½ × 5½ in.
16.51 × 13.97 cm.

Jess Rotter’s I’m Bored is a Gary-Larson-meets-The Muppets variety show, a terrific trip composed of drawings filled with recurring characters—ranging from walruses to wizards to life warriors, who are all, like the rest of us, seeking their daily salvation. A wizard paddles on a lonely sea, his flag proclaiming “I’m trying.” An ostrich hitchhikes in the desert, holding up a sign with her destination—”Bliss.” A walrus wearing an AC/DC shirt looks mellowly at the viewer underneath the refrain “I’m bored.”

Part art book, part comic book compilation, and partly a skeptical but loving take on those Successories motivational posters for the office, this book (designed by the artist and with a foreword by Kate and Laura Mulleavy of Rodarte) features the whimsical, wonderfully whacked-out work of artist and illustrator Jess Rotter.

Informed by a deep knowledge and love for the world of 1970s rock ’n’ roll, the work of Jess Rotter was inspired by her father’s vinyl covers and comic books growing up. “Part Peter Max, part Fritz the cat” (as Rotter described an early aesthetic influence), Rotter’s illustrations have appeared on everything from public murals to album covers (to name a few: Best Coast, Linda Perhacs, Wooden Shjips, Country Funk Volumes I & II and This Record Belongs To), and on projects for clients including MTV, Converse, Target, Red Bull, Indiewire and Lena Dunham’s Lenny Letter. Her T-shirt label, Rotter and Friends (launched in 2006) resulted in collaborative capsule collections for The Gap and Urban Outfitters, and official band merchandising for acts such as the Grateful Dead, Sly Stone, Rodriguez, Big Star, Kurt Vile and more.

Foreword by Kate and Laura Mulleavy
Hat & Beard Press #5

Serious T’ings a Go Happen: Three Decades of Jamaican Dancehall Posters

Nov 2016

Hardcover, approx. 240 pages
7 × 10 in.
17.78 × 25.4 cm.

An unofficial history of Jamaican dancehall music told through its graphic design, Serious T’ings a Go Happen brings together more than 200 original posters and signs from the early 1980s through today, drawn from the poster collection of Jamaican film and television producer and director Maxine Walters. Jamaican dancehall emerged out of reggae in the late 1970s and brought with it a new visual style characterized by bright colors and bold, hand-drawn lettering. One-of-a-kind, hand-painted posters advertising local parties and concerts have become a ubiquitous part of Jamaica’s landscape, nailed to poles and trees across the island. Over the past three decades Walters, who has been called “the queen of Jamaican dancehall signs,” has amassed a collection of some 4,000 of these street posters, advertising local “bashments” held at bars, on beaches and in primary schools. Treated by most Jamaicans as simply a fact of life, the dancehall poster has until recently received little careful, critical attention; this volume begins to rectify that with essays by Vivien Goldman, Ross Simonini and others, alongside the posters themselves, reproduced one to a page in full color. The book also includes liner notes by and interviews with Muta Baruka and Mikie Bennett of Grafton Studios, and Tony Winkler, author of The Lunatic, as well as a compilation of the original dancehall tracks curated by Mikie Bennett and Rory of Stone Love.

Edited by J.C. Gabel, Maxine Walters
Introductory essay by Marlon James
Designed by Brian Roettinger
Hat & Beard Press #7

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