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Beginning in 1980, Merrick Morton set about going to East and South Central Los Angeles - traveling as far as San Diego - to document street gang culture. As an outsider from the San Fernando Valley, Morton was always interested in cultures that were different from his own. The folks in these neighbourhoods immediately took to Rick and his quizzical eye, allowing him to move among them freely and affording him unrestricted access to their lives. Clique: West Coast Portraits from the Hood, 1980-1996, Morton's first monograph, is comprised of two-decades worth of photographs wherein he documents these communities, some of which have been largely ignored by the mainstream media, and captures their spirit. With this collection, he strove to keep the cultural identity of these neighbourhoods and their inhabitants intact, rendering their stories in poignant black-and-white and colour photography. Their family heritage is unmistakable in the still yet moving moments. Inspired by the work of

This volume is a graphically improved re-edition and re-invention of a book that first appeared in 1999. The classic Corio portraits have been swapped in a few places, but the line-up of brilliance they represent is unchanged, as is the text itself, apart from a little polish here and there. All quotes are taken from either the lifetime of original interviews I have conducted as a music journalist, first published in the mid-1970s British rock press, or from the many months of interviews I conducted specifically for The Black Chord, unless otherwise noted. My choice of additional subjects was dictated by David''s magnificent portrait gallery. I wanted to, if not directly quote, at least contextualize every artist. In the intervening decades, many have left us. Some shine even more brightly. Regarding others whose luster has been tarnished by scandal, it may be a poignant surprise to recall how they were viewed before the sad, sordid truth came out. Like my dear friend and colleague Dav

Hardcover, 176 pages10 x 11 in. 25.4 x 27.94 cm. Along for the Ride is a documentary film that explores the highs, lows, and ultimately the phoenix-like ascension of iconic Hollywood maverick Dennis Hopper, as seen through the eyes of his mysterious longtime "right-hand man," Satya de la Manitou. Filmmaker Nick Ebeling chronicles the unlikely duo's incredible 40-year journey, an enduring and intense brotherhood as intimately complex as Hopper's own legendary career. De la Manitou re-examines his dedication to his friend's idiosyncratic and uncompromising genius, reminiscing with a fascinating cast of characters-Hopper's co-conspirators, family and friends-and those that were also, unwittingly or willingly, there.Featuring Frank Gehry, David Hopper, Ed Ruscha, Tony Shafrazi, Wim Wenders, David Lynch, Michael Madsen, Dean Stockwell, Russ Tamblyn, Linda Manz, Damon Albarn & Jamie Hewett, Julian Schnabel, and Dwight Yoakam.Hat & Beard Press is pleased to release the companion book which includes cutting-room-floor material, plus original essays, interviews, and never-before-seen photographs. Each book comes with a digital download of the film. Edited by Nick Ebeling and JC GabelDesigned by Mona Smith

Rhys weaves anecdotes from his life in performance through designer and long-term collaborator Mark James'' xeroxed graphics and doctored photos, as well as cue cards, which - for the past 15 years - Rhys has used as a part of his live performances. Applause! Louder! Thank You! Etc. These cue cards have gradually become more ambitious and absurd: Wild Abandon! Burger Franchise Opportunity! Generic Festival Reaction! The crowd generally goes wild on cue, prompting Rhys to seek explanations for the unimaginable highs and weirdness of life in music through the lens of crowd psychology. The book will appeal to students of linguistics, propaganda, and graphic design, and anyone interested in music and live performance. ''Suddenly there was little pressure for me to communicate with the audience, when all I was interested in was writing and singing songs. Which was just as well as I had very little in the way of social skills and couldn''t speak very clearly or look an audience in the eye, and

Hardcover, 304 pages 6 × 9 in. 15.24 × 22.86 cm. 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 was never 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 as singing, composing, and playing music. 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.My Week Beats Your Year: Encounters with Lou Reed features 30+ interviews spanning his solo career, from the golden era of print rock-journalism, to the first online blogs. The compilation is 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.This anthology will be an intimate portrait of Reed who, in addition to being notoriously prickly (to put it mildly), was also intelligent, articulate, and deeply passionate about what was important to him, both as a person and as a creative artist. Edited and with texts by Pat Thomas Compiled by Michael Heath Foreword by Luc Sante Designed by Philippe Karrer Cover photograph by Mick RockHat & Beard Press #13

Hardcover, 160 pages8.25 x 11 in. 20.96 x 27.94 cm. In 2001, Ray and David Potes began producing a black-and-white zine called Hamburger Eyes. Quickly gathering traction in the photo community, the photocopied booklets rapidly evolved into a monthly magazine. Quietly based in San Francisco's Mission District, the Hamburger Eyes Photo Epicenter boasted coverage of "the continuing story of life on earth," its maxim attracting tens of thousands of cult followers, photographers, and voyeurs from around the world. Nearly two decades later, Hamburger Eyes has produced hundreds of issues and exhibited thousands of photographs in galleries across the US, Europe, and Asia. As the magazine developed into a haven for lovers of analog and print, the city surrounding its production was rapidly changing. The bastion of art and activism watched as housing markets skyrocketed. Big tech-the new gold rush-had come to change the character of the streets themselves. While the magazine has always revealed an aesthetic narrative from page to page and photographers have previewed and exhibited their own projects within them, this book will be the first publication to hone the focus of its large catalog on one point, the city that helped to establish it. Featuring contributions from Chris Beale, Jason Roberts Dobrin, Troy Holden, Kappy, Dylan Maddux, Alex Martinez, Mark Murrmann, David and Ray Potes, Ted Pushinsky, David Root, Andrea Sonnenberg, Stefan Simikich, David Uzzardi, Tobin Yelland, and many more, Hat & Beard Press brings to you SF Eyes: The Continuing Story of Life, Loss, Tragedy, and Triumph in the City of San Francisco as Captured by the All-Seeing Lens of Hamburger Eyes Photography Magazine. This installment in the Hamburger Eyes canon chronicles San Francisco life and culture-what it is, what it was, and why it matters-from the beginning of the turn of the new century.

Hardcover, 136 pages 9.25 × 11 in. 24.13 × 27.94 cm Chicago 1968 represents, perhaps as no other moment in American history, the flashpoint of cultural resistance to a militarized world out of control. In the summer of 1968, still reeling from the assassinations of Martin Luther King and Bobby Kennedy only months earlier, thousands of young people descended on the National Democratic Convention to show their opposition to the Vietnam War and their desire for a Peace platform. The showdown between "the longhairs" and "the pigs" would become one of the most violent and starkly emblematic confrontations ever broadcast on nightly news in the United States. "The whole world was watching," CBS reporter Dan Rather uttered on the floor of the convention center in Chicago, and he was correct: The 1968 Democratic Convention was the first nationally televised political convention. Police and National Guard troops, clashing with protesters, herded tens of thousands of demonstrators into exit-less corridors, and as the mayhem ensued, police indiscriminately cracked heads. Witnessing it all were some of the most attuned minds of the day, including Norman Mailer, Allen Ginsberg, Studs Terkel, and the "hard hitting investigative team" Esquire had assembled, which included Terry Southern, William Burroughs, and Jean Genet. Shortly after bumping into Southern at the bar of the Chateau Marmont in Los Angeles, photographer Michael Cooper decided to tag along, gaining official accreditation as photographer.Editors Nile Southern and Adam Cooper, having dreamt for many years about a print collaboration featuring their fathers' collective work-none more poignant than their accounts of the protests at the National Democratic Convention-here present Chicago 1968: The Whole World is Watching, a kaleidoscopic, on-the-ground account, told primarily through the words of Terry Southern and the photographs of Michael Cooper, a fitting tribute to two great artists of the 20th century. Edited and with texts by Adam Cooper and Nile Southern Associate Editors J.C. Gabel and Meg Handler Designed by Lisa Bechtold