特立独行恶搞佐罗（现实生活中的涂鸦艺术家李醌）的盘剥遵循野性的风格，他的作品吸引了东村艺术爱好者谁佣金他画的舞台巨人说唱的公约的关注。在纽约的行政区嘻哈的初期的文件，一切都在狂野风格是正宗的（故事，风格，人物和多数演员），从社区绘制。它具有老派的先驱，包括棋手一刹那，忙碌的蜜蜂，冷挤压兄弟多的万神殿。

A documentary that exposes the rich growing subculture of hip-hop that was developing in New York City in the late '70s and early '80s, specifically focusing on graffiti art and and breakdancing.

New York in the late 70s: the arch, anti-establishment energy of CBGBs punk spreads like a virus through the East Village art scene, with hipsters as likely to pick up a cheap Super-8 camera as a guitar or saxophone. A number of eager collaborations between filmmakers, musicians and performance artists are spawned, and a scene tagged No Wave evolves, with the likes of Jim Jarmusch, Lizzie Borden and Susan Seidelman emerging from it. On into the 80s, and contempt for Reaganite conservatism inspires Nick Zedd's Cinema of Transgression Manifesto, proposing, among other things, 'to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men'. The likes of Richard Kern, Lydia Lunch and Casandra Stark enthusiastically sign up. Celine Danhier's authoritative, thorough account of post-punk underground filmmaking in NYC celebrates a time and place where there were no rules, and where artists were encouraged and supported by their peers, those peers being, essentially, their audience. Contributions from key players are numerous and fascinating, as are the clips from the seminal, hugely influential work they produced.
Michael Hayden