Beyond the Beyond: Music From the Films of David Lynch
Belladonna of Sadness


SOLD OUT


Hardcover, 220 pages
9 × 12 in.
22.86 × 30.48 cm.
2016

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 excerpts, 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

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


$60
LTD. $150
DLX. $1000


Softcover, 496 pages
8¾ × 11¾ in.
22.225 × 29.845 cm.
2016

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.

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


Limited Edition

This limited edition 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.


Deluxe Edition

This deluxe edition includes ten LightJet prints by Melanie Nissen, housed in a cloth bound, foil stamped clamshell box.

Photographs include: Joey Ramone (Ramones), The Dead Boys, Alice Bag (The Bags), The Go-Go's, Gerber, The Germs, John Denney (The Weirdos), The Masque, Claude Bessey with The Damned, and Exene Cervenka (X) and Darby Crash (The Germs).

Edition of 20

Jess Rotter
I’m Bored


$25
LTD. $40
DLX. 1 $55
DLX. 2 $275
PATCHES $25


Hardcover, 88 pages
6½ × 5½ in.
16.51 × 13.97 cm.
2016

I'm Bored Standard Edition: $25

I'm Bored Limited Lenticular Edition: $40

Deluxe I'm Bored Bundle 1: $55
1. Limited Lenticular Edition of the book, I’m Bored
2. An assortment of I’m Bored embroidered character patches
3. Series of I'm Bored postcards

Deluxe I'm Bored Bundle 2: $275
1. Limited Lenticular Edition of the book, I’m Bored
2. An assortment of I’m Bored embroidered character patches
3. Series of I'm Bored postcards
4. Handcrafted jacket with embroidered I’m Bored patch by Hillary Justin of
Bliss and Mischief!

Patches: $25
An assortment of I’m Bored embroidered character patches

I’m Bored: a whimsical cartoon variety show from beloved illustrator and artist: Jess Rotter.

“Jess Rotter is an incredible artist that recognizes and explores the in-between spaces, the important moments that are not regulated by simple cause and effect. Her work inspires and challenges us to create from within and to search for inspiration in the quiet and personal realm of experience.”

—Kate and Laura Mulleavy (Rodarte)

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 in an AC/DC shirt looks calmly at the viewer beneath a permanent refrain of, “I’m bored.”… Part art book, part comic book compilation, and a skeptical but loving take on “Successories” motivational posters for the office, I’m Bored 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, Rotter was first inspired by her father’s vinyl covers and comic books growing up. She describes her early aesthetic influences as—“Part Peter Max, part Fritz the Cat”.

Rotter launched eponymous T-shirt label, Rotter and Friends in 2006, resulting in collaborative capsule collections for The Gap and Urban Outfitters, and official band merchandising for acts such as the Grateful Dead, Yusuf/Cat Stevens, Sly Stone, Rodriguez, Big Star, Mavis Staples, Kurt Vile and more. Her art and illustrations have appeared on everything from public murals to album covers (Best Coast, Wooden Shjips, Country Funk Volumes I & II just to name a few).

She’s collaborated with everyone from Jack White’s Third Man Records (This Record Belongs To) to Light In The Attic Records and on projects for clients including Other Music, Converse, Focus Features, Red Bull Music Academy, and Indiewire. Her cherished “Songbird Stories” column is currently featured bimonthly in Lena Dunham’s Lenny Letter. “I created these scribbles initially from the struggle of being jaded by overstimulation” explains Rotter of the inspiration for her first book, “it’s about how we seek daily salvation but always have a refresh button in the back of our minds…”

Designed by the artist and with a foreword/toast by Kate and Laura Mulleavy of Rodarte, I’m Bored is a Gary-Larson-meets-The Muppets variety show, a terrific trip composed of recurring illustrated characters—ranging from walruses to wizards to life warriors—who are all, like the rest of us, seeking their daily salvation.

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


Serious Things a Go Happen: Three Decades of Jamaican Dancehall Signs


$45


Hardcover, 168 pages
7½ × 9¼ in.
19.05 × 23.495 cm.

An unofficial history of Jamaican dancehall music told through its graphic design, Serious Things a Go Happen brings together more than 100 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 text and interviews with Rory Stone Love & Mikey Bennett, Denva Harris, and Tony Winkler, author of The Lunatic.

Edited by J.C. Gabel and Vivien Goldman
Introduction by Marlon James
Designed by Taylor Giali
Hat & Beard Press #7

Listen to the Echoes: The Ray Bradbury Interviews


January 2017
$50


Hardcover, approx. 300 pages
7½ × 10¾ in.
19.05 x 27.305 cm.

This expanded series of interviews with the American sci-fi legend includes photos of Bradbury's home in Los Angeles.

Acclaimed biographer and Bradbury scholar Sam Weller spent more than a decade interviewing the author Ray Bradbury, who himself admitted that “Sam Weller knows more about my life than I do.” In Weller and Bradbury’s conversations, collected in Listen to the Echoes: The Ray Bradbury Interviews, a vivid portrait of Bradbury emerges: a creative genius, an opinionated and occasionally contrarian thinker, and a nostalgic futurist, longing for yesterday even as he looked forward.

During the process of conducting research and putting together the book, Weller invited noted Los Angeles photographer Zen Sekizawa to photograph Bradbury’s home and his decades of accumulated possessions. Sekizawa’s photographs present an alternate portrait of Bradbury—one that is even more poignant today, now that Bradbury’s personal possessions have been sold at auction and his home of more than half a century razed.

Listen to the Echoes: The Ray Bradbury Interviews is the definitive collection of interviews with this American icon, illustrated with Sekizawa’s stunning color photographs (including previously unpublished images). Originally issued as a paperback in 2010 by Stop Smiling Books and Melville House Publishing, Listen to the Echoes is now available in a full-color, larger-format edition with a new final chapter by Weller about Bradbury’s legacy since his death in 2012, and dozens of new photographs from the Bradbury archive.

Ray Bradbury (1920–2012), the poetic and visionary author of such classics as Fahrenheit 451, The Martian Chronicles and The Illustrated Man, was one of the most influential writers of the 20th century. Bradbury’s sway over contemporary culture is towering—Mikhail Gorbachev, Alfred Hitchcock and David Bowie all counted themselves as fans, to name only a very few.

Edited by J.C. Gabel
Foreword by Black Francis
Afterword essays by Margaret Atwood and Frank Darabont
Designed by Benjamin Woodlock
Original photography by Zen Sekizawa
Hat & Beard Press #9

Designing Modernism—New Directions at 80


February 2017
$50


Hardcover, approx. 220 pages
7 × 9 in.
17.78 × 22.86 cm.

Where modern literature met modern art: classic New Directions book design by Alvin Lustig, Paul Sahre, Rodrigo Corral and more.

James Laughlin founded the groundbreaking independent publisher New Directions in 1936. Just five years later, Alvin Lustig designed his first jacket for the press, a cover for the 1941 edition of Henry Miller’s Wisdom of the Heart. Lustig worked with New Directions Publishing from 1941 to 1952, and each of his cover designs was different from the last. In 1956, Laughlin looked back on their collaboration: “opening each envelope from Lustig was a new excitement because the range of fresh invention seemed to have no limits.” In many ways, Lustig’s designs helped New Directions establish its visual and literary identity: modern, distinctive, bold, cutting edge.

The collaboration between Alvin Lustig and New Directions Publishing is now the stuff of design legend. But Lustig is just one giant in a storied history full of them: Andy Warhol, for example, designed covers for New Directions before he was famous, as did Ray Johnson and Milton Glaser. And New Directions was the first US publisher of Jorge Luis Borges, W.G. Sebald and Roberto Bolaño, among many others.

Edited by J.C. Gabel with New Directions publisher and editor-in-chief Barbara Epler, Designing Modernism: New Directions at 80 surveys the publishing house’s remarkable history of bringing together groundbreaking literary modernism with indelible, iconic art and design. Lustig’s revolutionary covers from the 1940s and 1950s are, of course, included, alongside original work by Paul Sahre, Megan Wilson, Charlotte Strick, Rodrigo Corral and John Gall, among others. Designing Modernism also includes the reflections of more than 40 working designers from around the world discussing their favorite New Directions covers of all time, proving the continued influence of these formal experiments more than half a century later.

Edited by J.C. Gabel and Barbara Epler
Designed by Rodrigo Corral
Hat & Beard Press #10

Xerophile: Cactus Photographs from Expeditions of the Obsessed


April 2017
$45

April 2017

Xerophile: Cactus Photographs from Expeditions of the Obsessed is the first book of its kind. A selection of over a thousand photographs of arguably the rarest and most spectacular plants on earth, photographed in their natural habitats over the past 100 years by a global cadre of obsessed cactus aficionados made up of both the amateur and the professional—from Ph.D. botanist to janitor, art teacher to cancer researcher.

Fueled by whispers of ancient plants on forgotten hilltops in Brazil, legends of fields of living fossils deep in the arid deserts of Chile, these explorers’ relentless drive to find and document succulent plants in some of the most remote landscapes on earth has created an extraordinary collective body of photographic work, one which has rarely, if ever, been seen by the general public.

Compiled by Help.Ltd—the proprietors of the Cactus Store in Los Angeles—Xerophile is not a field guide or taxonomy. Neither is it a book of photography in the traditional sense. Rather, it mines the space between science and art, between gravity and levity; a space in which plants that by many measures should not exist, and may very well cease to, live on in the darkness of dusty slide carousels and forgotten old hard drives of those who have devoted their lives to searching, writing, gossiping, thinking, dreaming and, if they are lucky—after weeks of false turns, stuck jeeps, and steep mountain paths—laying their eyes on the plant they have so desperately been seeking.

Edited by Cactus Store and Help.Ltd

My Week Beats Your Year: Encounters with Lou Reed


May 2017
$40

May 2017

During his first major sit-down with the music press in 1977, between claiming all his songs were about guilt and revenge, Elvis Costello casually remarked, “I don’t really listen to Lou Reed’s records, but I never miss an interview with him.”

Indeed, for all his publicly expressed loathing of the press in general and music journalists in particular, during his long career as a rock artist, Lou Reed never failed to be less than entertaining in his dealings with the Fourth Estate. In fact, one could go so far as to claim that, for Lou, the press became as much an implement of expression for him as singing, composing and playing music. And in a style at times very much informed by his mentor Andy Warhol, Reed could play the media like a Marshall-amped Stradivarius.

To the majority of his fans, the apotheosis of Reed’s relationship with the press, and most prominently regarded to this day, was the series of combative tête-à-têtes between Lou and the late great music journalist Lester Bangs, published in CREEM Magazine during the 1970s.

This anthology, then, will be one fan’s humble attempt to move beyond the Bangs canon, and delve deeper into the distance and intimacy, cactus and mercury, that constituted Lou‘s post-Velvet Underground, public media image. We hope to present to the reader a broader perspective, a more finely defined portrait, of Lou Reed; that, in addition to being notoriously prickly (to put it mildly), Reed was also intelligent, articulate and deeply passionate about what he thought mattered, and was important to him, as both a person and as a creative artist.

Compiled by Mike Heath
Afterword by Pat Thomas

Double Vision: The Photography of George Rodriguez


Fall 2017
$50

Fall 2017

This book will be the first ever career retrospective of the work of Los Angeles photographer George Rodriguez.

Since the 1950s, Rodriguez has quietly documented multiple social worlds—in California and beyond—that have never before been displayed together, a rare mix of American and Mexican, urban and rural, Hollywood celebrity and civil rights marches.

Throughout the 1960s and 70s, Rodriguez led something of a double life as a photographer. He worked for film studios, record labels, and magazines like Tiger Beat, shooting countless photographs of the era's biggest music and film stars, many of which have become familiar images in the American popular imagination, while also photographing the social movements and protests that were exploding on the streets of Los Angeles and throughout the country: the Chicano Moratorium, the United Farm Workers movement, the Sunset Strip riots, and many other happenings, certainly more than any other single photographer.

Double Vision explores both of these worlds, alongside the many other urban scenes Rodriguez has shot over the years, from L.A. street gangs and L.A. boxing to L.A. hip-hop. Rodriguez is one of the great visual documentarians of the hyphen that connects the American to the Mexican and yet the full, diverse scale of his work has never been shown in a full retrospective.

Assembled by Rodriguez himself, in conjunction with scholar and writer Josh Kun, this book will be an invaluable addition to the way we understand identity, popular culture, and civil rights in American life, and a visual biography of one the country's most important, yet unsung, visual historians.

Edited and with texts by Josh Kun
Introduction by Dolores Huerta
Afterword by John Densmore

Sound is a Place: The American Recording Studio in the Digital Age


Fall 2017
$45


Fall 2017

Throughout the history of recorded music, America has been, and continues to be, home to a vividly diverse array of sought-after music studios. These are mysteriously sacred spaces—old houses, revamped storefronts, tiny ramshackle rooms—many built amid urban decay or scattered upon the lost red roads of the American South.

Exploring the art, architecture and surrounding environments of America’s groundbreaking contemporary studios, Sound Is A Place is a photo-driven book featuring in-depth essays and insightful interviews with engineers, musicians and producers.

Sound is a Place will document a select group of contemporary studio spaces, revolutionary new rooms where some of the best in modern music was recorded (Jack White's Third Man, Ryan Adam's PAX-AM), while including an introductory overview of some of America’s legendary, still functioning old studios—such as Electric Ladyland, Sunset Studios and Capitol Records.

What occurs in these places is that the merely aural gets made tangible. The outside—the muggy Tennessee backwoods night or the bustle and grind of a Detroit day—leaks inside, seeping through glass and brick, and the world around the music makes its way into the blood and the guts of the songs recorded there.

These are rooms whose capacity for recording sound allow for rich and evocative moods, spaces which eloquently insert a narrative of place and time; in between rock ’n’ roll riffs, country vocal twang, or 3-bar-blues lament.

Detailing not only the environment, gear and aesthetic of these spaces, but also the artists who work in them, Sound is A Place will provide a compelling photographic narrative of iconic music studios of the past, and a visually thrilling overview of some of the finest in the new breed of contemporary recording spaces pushing boundaries today.

Written and Edited by Jessica Hundley
Photography by David Black

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