Both a portrait of the modern city and a gripping thriller, Tabloid City is a classic New York novel from the writer who captured the city for decades.​ In a stately West Village town house, a wealthy socialite and her secretary are murdered. In the 24 hours that follow, a flurry of activity surrounds their shocking deaths. The head of one of the city's last tabloids stops the presses. A cop investigates the killing. A reporter chases the story. A disgraced hedge fund manager flees the country. An Iraq War vet seeks revenge. And an angry young extremist plots a major catastrophe. The city is many things: a proving ground, a decadent carnival, or a palimpsest of memories -- a historic metropolis eclipsed by modern times.

"Love us. Hate us. Read us." That was the slogan of The Trentonian, the scrappy underdog tabloid newspaper from Trenton, N.J. The newspaper combined a mix of hard-hitting news, steamy sex stories and solid sports to produce massive sales in competitive market. The paper represented the heart and soul of the city. It was truly "No. 1 in the hearts of the people." In 1998, The Trentonian took a tragic turn -- a turn in which the paper likely will never recover. It ditched its core readers. It turned its back on Trenton. TABLOID FROM HELL chronicles the rise and fall of a beloved newspaper. It details how a once relevant newspaper turned irrelevant. How a newspaper everybody talked about transformed into a dull, lifeless and awkward product on the decline. The Trentonian lost its voice. So did its readers.

NAMED A BEST BOOK OF THE WEEK BY THE NEW YORK POST ALSO AVAILABLE AS AN AUDIOBOOK A from-the-trenches view of New York Daily News and New York Post runners and photographers as they stop at nothing to break the story and squash their tabloid arch-rivals. When author Mike Jaccarino was offered a job at the Daily News in 2006, he was asked a single question: “Kid, what are you going to do to help us beat the Post?” That was the year things went sideways at the News, when the New York Post surpassed its nemesis in circulation for the first time in the history of both papers. Tasked with one job—crush the Post—Jaccarino here provides the behind-the-scenes story of how the runners and shooters on both sides would do anything and everything to get the scoop before their opponents. The New York Daily News and the New York Post have long been the Hatfields and McCoys of American media: two warring tabloids in a town big enough for only one of them. As digital news rendered print journalism obsolete, the fight to survive in NYC became an epic, Darwinian battle. In America’s Last Great Newspaper War, Jaccarino exposes the untold story of this tabloid death match of such ferocity and obsession its like has not occurred since Pulitzer– Hearst. Told through the eyes of hungry “runners” (field reporters) and “shooters” (photographers) who would employ phony police lights to overcome traffic, Mike Jaccarino’s memoir unmasks the do-whatever-it-takes era of reporting—where the ends justified the means and nothing was off-limits. His no-holds-barred account describes sneaking into hospitals, months-long stakeouts, infiltrating John Gotti’s crypt, bidding wars for scoops, high-speed car chases with Hillary Clinton, O.J. Simpson, and the baby mama of a philandering congressman—all to get that coveted front-page story. Today, few runners and shooters remain on the street. Their age and exploits are as bygone as the News–Post war and American newspapers, generally. Where armies once battled, often no one is covering the story at all. Funding for this book was provided by: Furthermore: a program of the J. M. Kaplan Fund

The fourth estate.

This book studies a grouping of films set in New York City between 1965 and 1995, reflecting a town besieged by rampant criminality, social distress and physical decay. "Fear City" is a term the NYPD used to label New York as a frightening environment, incapable of securing the safety of its residents. This book not only deals with the social problems evident in New York during this period, but also provides a study of how independent filmmakers were able to capture unsettling urban imagery, capitalizing on feelings of paranoia and dread. The author explores how the tone of these films reflects upon the anti-urbanism that led to the War on Crime, the mass exodus of working-class people from the city and mass incarceration of young Black men.