Documents the resistance and struggle of people in the Lower East Side to exist as a community when faced with drastic gentrification in the late 1980s and early 1990s. It focuses on the park as a symbol and stronghold of the anti-gentrification movement, as riots proved a trigger to radicalise political movement. Living near the park, Q. Sakamaki witnessed the unravelling events that created one of New York's political movements, which he has captured in b/w photography.

That's A Crazy One is an inside look at the youth culture that dominated downtown NYC in the early 1990's. That same culture that helped spark the multi-million dollar industries of skateboarding and streetwear that exist now. The subjects were the inspiration for Larry Clark's cult classic film KIDS. In stark contrast to the storyline told in the film,it is the true capture of what life was like for the cast of KIDS prior to the film being made and released. Photographed by Mel Stones & High throughout 1991-1995, the two teenage girls used NYC public school darkrooms to develop and print these images. Shot by insiders, That's A Crazy One is a rare archival portrait of early NYC street skating and the intimate relationships that existed between this crew of kids. Shot in low light on 35mm film pushed to the max, the images are grainy and gritty and bring you back to Pre-Giuliani New York rawness. That's a Crazy One features images that run a wide gamut, from kids sleeping on the train, skateboarding through the streets, smoking weed and drinking 40's, to the abandoned buildings and roof that were their playgrounds. However it is the dedication of the book that sets the tone for the images that follow. Once read, you realize that many of the kids on these pages are no longer among the living. Often mistaken as a documentary film, KIDS left an aftershock amongst this group of teenagers long after the limelight faded, with no solid foundation many met tragic ends. These lives so superficially portrayed on screen were genuinely struggling and that struggle materialized in the deaths of many of them. The images evoke the painful truth of how one can feel alone and together at the same time.Too painful to face their losses, these images have remained archived for over 20 years. That's A Crazy One takes you through their cathartic journey. All profits from book sales will be donated to NYC Public Schools Photography Program in memorial to their departed.

A vibrant narrative history of three hallowed Manhattan blocks—the epicenter of American cool. St. Marks Place in New York City has spawned countless artistic and political movements. Here Frank O’Hara caroused, Emma Goldman plotted, and the Velvet Underground wailed. But every generation of miscreant denizens believes that their era, and no other, marked the street’s apex. This idiosyncratic work of reportage tells the many layered history of the street—from its beginnings as Colonial Dutch Director-General Peter Stuyvesant’s pear orchard to today’s hipster playground—organized around those pivotal moments when critics declared “St. Marks is dead.” In a narrative enriched by hundreds of interviews and dozens of rare images, St. Marks native Ada Calhoun profiles iconic characters from W. H. Auden to Abbie Hoffman, from Keith Haring to the Beastie Boys, among many others. She argues that St. Marks has variously been an elite address, an immigrants’ haven, a mafia warzone, a hippie paradise, and a backdrop to the film Kids—but it has always been a place that outsiders call home. This idiosyncratic work offers a bold new perspective on gentrification, urban nostalgia, and the evolution of a community.

A New York Times bestseller and People “Book of the Week”: This hilarious, charming road trip through canine-loving America is “essential reading for dog lovers and armchair travelers” (Library Journal, starred review). “I don’t think my dog likes me very much,” New York Times Magazine writer Benoit Denizet-Lewis confesses at the beginning of his cross-country journey with his nine-year-old Labrador-mix, Casey. Over the next four months, thirty-two states, and 13,000 miles in a rented motor home, Denizet-Lewis and his lovable, moody canine companion try—with humorous and touching results—to pay tribute to the most powerful interspecies bond there is, in the country with the highest rate of dog ownership in the world. On the way, Denizet-Lewis—“a master at effortlessly weaving bits of research into his narrative” (Los Angeles Times)—meets an irresistible cast of dogs and their dog-obsessed humans. Denizet-Lewis and Casey hang out with wolf-dogs in Appalachia, enter a dock-jumping competition in Florida, meet homeless teens and their dogs in Washington, sleep in a Beagle-shaped bed and breakfast in Idaho, and visit “Dog Whisperer” Cesar Millan in California. And then there are the really out there characters: pet psychics, dog-wielding hitchhikers, and two women who took their neighbor to court for allegedly failing to pick up her dog’s poop. Denizet-Lewis’s memoir “is a lot like Casey…fun, sweet, and a little neurotic” (Chicago Tribune)—a delightfully idiosyncratic blend of memoir and travelogue coupled with a sociological exploration of a dog-obsessed America. Travels With Casey is “a thoroughly engaging and often hilarious investigation of the therapeutic nature of our relationships with dogs” (Booklist).

Cites successful examples of community-based policing.

Why have so many central and inner cities in Europe, North America and Australia been so radically revamped in the last three decades, converting urban decay into new chic? Will the process continue in the twenty-first century or has it ended? What does this mean for the people who live there? Can they do anything about it? This book challenges conventional wisdom, which holds gentrification to be the simple outcome of new middle-class tastes and a demand for urban living. It reveals gentrification as part of a much larger shift in the political economy and culture of the late twentieth century. Documenting in gritty detail the conflicts that gentrification brings to the new urban 'frontiers', the author explores the interconnections of urban policy, patterns of investment, eviction, and homelessness. The failure of liberal urban policy and the end of the 1980s financial boom have made the end-of-the-century city a darker and more dangerous place. Public policy and the private market are conspiring against minorities, working people, the poor, and the homeless as never before. In the emerging revanchist city, gentrification has become part of this policy of revenge.

Poet Bonny Finberg's textual images collages in Dadaist sensibility by New Media Artist Barbara Rosenthal.