The author became interested in male prostitution while researching populations susceptible to AIDS. He found such a population in male prostitutes in Times Square which had developed a community to deal with common problems. Among these changing the community were AIDS, crack cocaine, and urban redevelopment. This work is directed to sociologists, social workers, and those interested in popular culture.

The author became interested in male prostitution while researching populations susceptible to AIDS. He found such a population in male prostitutes in Times Square which had developed a community to deal with common problems. Among these changing the community were AIDS, crack cocaine, and urban redevelopment. This work is directed to sociologists, social workers, and those interested in popular culture.

American Hipster: The Life of Herbert Huncke, The Times Square Hustler Who Inspired the Beat Movement tells the tale of a New York sex worker and heroin addict whose unrepentant deviance caught the imagination of Jack Kerouac, Allen Ginsberg, and William S. Burroughs. Teetering between exhaustion and existential despair, Huncke (rhymes with “junky”) often said, “I’m beat, man.” His line gave Kerouac the label for a down-at-the-heels generation seeking spiritual sustenance as well as “kicks” in post-war America. Recognizable portraits of Huncke appear in Junky (1953), Burroughs's acerbic account of his own heroin addiction; “Howl” (1956), the long, sexually explicit poem that launched Ginsberg’s career; and On the Road (1957), Kerouac’s best-selling novel that immortalized the Beat Generation. But it wasn’t just Huncke the character that fascinated these writers: they loved his stories. Kerouac called him a “genius” of a storyteller and “a perfect writer.” His famous friends helped Huncke find publishers for his stories. Biographies of Kerouac and the others pay glancing tribute to Huncke’s role in shaping the Beat Movement, yet no one until now has told his entire life story. American Hipster explores Huncke’s youthful escapades in Chicago; his complicated alliances with the Beat writers and with sex researcher Alfred Kinsey; and his adventures on the road, at sea, and in prison. It also covers his tumultuous relationship with his partner Louis Cartwright, whose 1994 murder remains unsolved, and his idiosyncratic career as an author and pop-culture icon. Written by Hilary Holladay, a professor of American literature, the book offers a new way of looking at the whole Beat Movement. It draws on Holladay’s interviews with Huncke's friends and associates, including representatives of the literary estates of Kerouac, Ginsberg, Burroughs, and Huncke; her examination of Huncke’s unpublished correspondence and journals at Columbia University; and her longtime study of the Beat Movement.

What is the true legend of a hustler? Not just any hustler, but the king of all hustlers. Johnny Hustle is that man who is a living legend in his community, respected and the go to for any and everything that goes down in his line of work. Who better to tell his story than Johnny Hustle himself? In the incomparable Zach Tate’s “The Legend of Johnny Hustle,” Johnny shares his story as a lame who wanted more and did not know how he was going to get it. One trip to Times Square and inadvertently becoming part of a hustle in progress was a life-changing moment that would be the beginning of a legend in the making. With a new mindset, change of heart and pertinent goals, Johnny set out to learn the hustle game, leaving the old Johnny and the way he lived behind to reach heights he never knew possible. He tells his story in his own way, in his own terms and in his own words.

Jane Dickson in Times Square is a time machine back to a New York City that was truly wild: lawless, manic, sometimes squalid, sometimes magnificent featuring a career of artwork by the artist.

What is the true legend of a hustler? Not just any hustler, but the king of all hustlers. Johnny Hustle is that man who is a living legend in his community, respected and the go to for any and everything that goes down in his line of work. Who better to tell his story than Johnny Hustle himself?In the incomparable Zach Tate's "The Legend of Johnny Hustle," Johnny shares his story as a lame who wanted more and did not know how he was going to get it. One trip to Times Square and inadvertently becoming part of a hustle in progress was a life-changing moment that would be the beginning of a legend in the making.With a new mindset, change of heart and pertinent goals, Johnny set out to learn the hustle game, leaving the old Johnny and the way he lived behind to reach heights he never knew possible. He tells his story in his own way, in his own terms and in his own words.

One of the seminal artists of contemporary photography, Philip-Lorca diCorcia produces work that exists on a wide spectrum of fictionalized documentary. Yet a thematic and conceptual unity, most often realized in serial form and particularly suited to monograph format marks each series in his oeuvre. With Thousand, diCorcia effectively inverts his own tendency: the monograph is now the work itself. The sheer volume of material, which spans over 20 years of personal and artistic creation, shifts notions of context, narrative, and individual perception. Flipping through the pages of Thousand is not so much a retrospective or summation of the artist s life as it is an exercise in the construction of memory. An unwashed pan soaking in the sink precedes an unknown woman resembling an odalisque; the familiar linoleum aisles of a generic supermarket give way to a verdant swatch of lawn. These images are bothalien and deeply familiar, and just as one moment in our lives may recall another, these photos echo among one another, within the book, within the canon of diCorcia's work, and within our personal experience. The Polaroid proves to be the perfect souvenir unique and subject to reinterpretation, like memory itself. Philip-Lorca diCorcia was born in Hartford, Connecticut, in 1951. He received his MFA in Photography from Yale University in 1979. Published volumes accompany his solo exhibits at the Museum of Modern Art (Philip-Lorca diCorcia, 1995) and PaceWildenstein Gallery, New York (Streetwork 1993-1997, 1997; Heads, 2001; A Storybook Life, 2003). His work is included in the collections of the Bibliotheque Nationale de France, the Museum of Modern Art, and the Metropolitan Museum of Art, among others. He has been named a Guggenheim Foundation Fellow and has received multiple grants from the National Endowment for the Arts. DiCorcia lives and works in New York City.