Music may be the glue of every NYC underground scene This Must Be the Place covers, but Jesse Rifkin’s primary interest is in the community held together by that glue.
It was not without admirable aplomb that Times Square attempted to capture the punk movement in its zeitgeist the way Saturday Night Fever did with disco.
Accomplished playwright Alvin Eng’s fluency across cultures and punk rock, theatrical performance, playwriting, and journalism makes for an engaging memoir.
Sonya Huber’s memoir, Supremely Tiny Acts, gives readers access to a witty mind that is full of delightful surprises discovered in a single day.
Elkin’s All the Streets Are Silent shows how skate crews and rappers picked up the mantle of guerrilla art and commerce in the post-Warhol and Basquiat years.
Sean Baker’s short film, ‘Khaite’, mixes high fashion with hard crime New York city style.
Bertoglio’s Downtown 81 and Linklater’s Slacker showcase blissfully aimless, anarchic souls discretely or overtly spurning a predictable, soulless society.
New York trekker William B. Helmreich's latest urban walking guide, The Manhattan Nobody Knows, can feel like a series of bite-sized Joseph Mitchell essays, and as such is great fun to read.
In these times of so-called "fake news", Bonanos' biography of Weegee begs the question: If the truth of human nature is best demonstrated in a prearranged circumstance, does that make it any less true?
Much like All in the Family – which also addressed sexuality, gender roles, and race in a brutally honest manner – Saturday Night Fever casts a light into America’s dark corners.
