An appealing record of a bohemian synthesis of rock, hip-hop, and celebrity.


Lavish, elegiac document of the filmmaker’s relationship with the Beastie Boys.

For three decades, Jonze, known for numerous music videos and acclaimed films like Being John Malkovich and Adaptation, was a core contributor to the aesthetic of the Beastie Boys, who lost founding member Adam “Ad-Rock” Yauch in 2012. As Mike “Mike D” Diamond explains in a wistful introduction, Jonze’s then-adolescent goofiness concealed intense technical curiosity and ambition: “Spike just made things happen because he said, ‘That’s what we’re doing.’ And then he didn’t blink….Spike was there, not only capturing it, but being a full member and facilitator of our creative chaos. And, at the same time, he was also always interested in asking, ‘What are you feeling?’ ” The book contains little text aside from the author’s handwritten notations, alternately documentarian and enigmatic (“Mike, Call Carl Sagan Back”), and an afterword in which Jonze connects his own growth to their influence. “I was inspired by all of them in many different ways,” he writes. “As artists, definitely, but maybe even more so as friends, as the kind of people who treat each other and everyone in their life with respect and honesty.” Even without exposition, an intimate cultural narrative develops. Earlier photos picture the band scuffling in New York following the commercial failure of Paul’s Boutique, their sophomore album that is now considered transformative. In Los Angeles, they found their footing, epitomized by Jonze’s mock-1970s “Sabotage” video and their collaborative magazine, Grand Royal. Photos from this time exude intimacy and friendship (and ridiculous fashion sense) alongside backstage antics and sweaty stage-action shots. Intense collective creativity resonates throughout. Later in their career, they enjoyed dressing up as elderly men or shaggy pseudo-intellectuals, foreshadowing a bittersweet retirement that stands in contrast to their enduring love of pranks, art, and one another.

An appealing record of a bohemian synthesis of rock, hip-hop, and celebrity.

Pub Date: April 8, 2020

ISBN: 978-0-8478-6838-4

Page Count: 256

Publisher: Rizzoli

Review Posted Online: Oct. 21, 2020

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A virtuoso performance and an ode to an undervalued medium created by two talented artists.



The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.

Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.

A virtuoso performance and an ode to an undervalued medium created by two talented artists.

Pub Date: Nov. 17, 2020

ISBN: 978-1-250-26289-9

Page Count: 272

Publisher: Celadon Books

Review Posted Online: Aug. 31, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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A lovely, sometimes challenging testament to the universality of human nature.


The creator of the hit internet series Humans of New York takes it global, chasing down a panoply of interesting stories.

In 1955, Edward Steichen staged a show called “The Family of Man,” a gathering of photographs that emphasized the commonality of humankind. Stanton’s project seemingly has much the same ambition. “You’ve created this magic little corner of the Web where people feel safe sharing their stories—without being ridiculed, or bullied, or judged,” he writes. “These stories are only honestly shared because they have a long history of being warmly received.” The ask is the hard part: approaching a total stranger and asking him or her to tell their stories. And what stories they are. A young Frenchwoman, tearful, recounts being able to see things from the spirit world that no one else can see. “And it’s been a very lonely existence since then,” she says. A sensible teenager in St. Petersburg, Russia, relates that her friends are trying to be grown-up, smoking cigarettes and drinking alcohol, whereas she wants to remain a child close to her parents: “I’d like these times to last as long as possible.” A few stories are obnoxious, as with a Dutch incel who has converted himself into a pickup artist and outright cad: “Of course it’s manipulation, but why should I care? I’ve been manipulated so many times in my life.” A great many stories, some going for several pages but most taking up just a paragraph or two, are regretful, speaking to dashed dreams and roads not taken. A surprising number recount mental illness, depression, and addiction; “I’d give anything to have a tribe,” says a beleaguered mother in Barcelona. Some are hopeful, though, such as that of an Iranian woman: “I’ve fallen in love with literature. I try to read for one or two hours every day. I only have one life to live. But in books I can live one thousand lives.”

A lovely, sometimes challenging testament to the universality of human nature.

Pub Date: Oct. 6, 2020

ISBN: 978-1-250-11429-7

Page Count: 448

Publisher: St. Martin's

Review Posted Online: Aug. 18, 2020

Kirkus Reviews Issue: Sept. 1, 2020

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