(Guitar Recorded Versions). Over 20 songs in accurate notes and tab from the hard rocker's various projects: Anastasia * Beggars and Hangers On * Civil War * Dirty Little Thing * The Godfather (Love Theme) * Mr. Brownstone * November Rain * Paradise City * Patience * Slither * Sweet Child O' Mine * Used to Love Her * Welcome to the Jungle * and more.

Eclectic, eccentric and tirelessly innovative, art crafted from cut paper has experienced an exciting renaissance in recent years. Published to accompany a traveling exhibit opening at the Museum of Arts and Design in New York, Slash: Paper Under the Knife examines the resurgence of traditional handcraft materials and techniques in contemporary art and design. Highlighting the work of forty-five international artists, among them Olafur Eliasson, Tom Friedman, William Kentridge, and Kara Walker, the book features not only cut but also burned, torn, laser-cut, shredded and sculpted paper art. In addition, the book includes cut paper animation, as well as cut paper incorporated in photography and fashion. Works range from small-scale intricate cuttings to large-scale architectural inventions and sculptures. With an essay by well-known decorative arts expert David Revere McFadden, this singular book reveals that, with ingenuity and craftsmanship, one of our most familiar implements can be transformed into unforgettable works of art.

The legendary punk and new wave alternative weekly magazine Slashwas 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, Slashdefined the punk subculture in Los Angeles and beyond with the comic strip Jimboby Gary Panter and photographs by Melanie Nissen, the cofounding 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. Slashdiagnosed 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, 1977–80pays 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.

A woman fights to keep her daughters safe in the wake of war and political trauma in Central/ Latin America.

Punk Slash! Musicals is the first book to deal extensively with punk narrative films, specifically British and American punk rock musicals produced from roughly 1978 to 1986. Films such as Jubilee, Breaking Glass, Times Square, Smithereens, Starstruck, and Sid and Nancy represent a convergence between independent, subversive cinema and formulaic classical Hollywood and pop musical genres. Guiding this project is the concept of "slip-sync." Riffing on the commonplace lip-sync phenomenon, "slip-sync" refers to moments in the films when the punk performer "slips" out of sync with the performance spectacle, and sometimes the sound track itself, engendering a provocative moment of tension. This tension frequently serves to illustrate other thematic and narrative conflicts, central among these being the punk negotiation between authenticity and inauthenticity. Laderman emphasizes the strong female lead performer at the center of most of these films, as well as each film's engagement with gender and race issues. Additionally, he situates his analyses in relation to the broader cultural and political context of the neo-conservatism and new electronic audio-visual technologies of the 1980s, showing how punk's revolution against the mainstream actually depends upon a certain ironic embrace of pop culture.

Slash and Dominate is book 3 and the finale of the Savage Hearts MC trilogy! I sold him my innocence. I just never thought he'd claim it like this. Brutal. Savage. Reckless. Wild. But there's no denying the truth: The bad boy owns me now. ERIN I'm in over my head. It just got out of control. And before I could stop it, things were happening that I was powerless to stop. I was on stage, barely dressed, while strange men offered cash bounties that made my jaw drop. Then a voice came out of the back that cut through the chaos and froze my blood in my veins. He said he'd own me… Whatever the cost. And that's when this nightmare truly began. Because the man who bought me is the devil incarnate. Slash is a bona fide killer, a ruthless biker bad boy with the ink and leather to match. His motorcycle roars like some demon from below. And those eyes… So hungry. So cruel. From the moment the door shut and we were alone together, I knew that this could end only one way: With me on my knees, begging the bad boy to own me. SLASH There are enough bodies in my past to fill a morgue. Enough blood on my hands that I'll never truly be rid of it. I've sinned, I've killed, I've broken people and left them to suffer in the darkness and the silence. But it was all for the club. All of it – everything I've ever done – was in the name of the Savage Hearts MC. Until now. This time, my sins are for me and me alone. Because when I saw the girl on the stage, I knew I couldn't rest until I'd made her mine. Every woman in my past was nothing more than a toy to me. But Erin… She lit a fire I didn't know I had. It won't be enough to use her and throw her aside. I need to take her senseless, then put her on the back of my chopper and ride into the sunset. F**k all this chaos. F**k all this war. I'll brand this woman and put my baby in her so the whole damn world knows to keep their filthy hands off. But the underworld where I've spent my whole life isn't so eager to let us escape. There are men here who would love to see my head on a spike. Along with the heads of everyone I've ever cared about. And when they find out about the girl I've brought into my home… They know I'm vulnerable now. That's when they come for us. So be it. Let them. I'm ready for one final war. And I'll slay them all to protect what's mine.

At the end of every horror movie, one girl always survives...in this case, Cassie Hack not only survives, she turns the tables by hunting and destroying the horrible slashers that would do harm to the innocent! Alongside the gentle giant known as Vlad, the two cut a bloody path through those who deserve to be put down...hard!