Paul Schrader was in meltdown in 1972. Drinking heavily, living in his car, he was hospitalised with a gastric ulcer. There he read about Arthur Bremer's attempt to assassinate Alabama Governor George Wallace: the story was the germ of his screenplay for Taxi Driver (1976). Executives at Columbia hated the script, but when Martin Scorsese and Robert De Niro, who were flying high after the triumphs of Mean Streets (1973) and The Godfather Part II (1974), signed up, Taxi Driver became too good a package to refuse. Scorsese transformed the script into what is now considered one of the two or three definitive films of the 1970s. De Niro is mesmerising as Travis Bickle – pent-up, bigoted, steadily slipping into psychosis, the personification of American masculinity post-Vietnam. Cybill Shepherd and Jodie Foster give fine support and Scorsese brought in Bernard Herrmann, the greatest of film composers, to write what turned out to be his last score. Crucially, Scorsese rooted Taxi Driver in its New York locations, tuning the film's violence into the hard reality of the city. Technically thrilling though it is, Taxi Driver is profoundly disturbing – finding, as Amy Taubin shows, racism, misogyny and gun fetishism at the heart of American culture. In her foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Amy Taubin considers Taxi Driver anew in the context of contemporary politics of race and masculinity in the US, and draws on an exclusive interview with Robert De Niro about his memories of making the film.

Driving a cab for more than 30 years Gene Salomon has collected a remarkable selection of stories. He shares the very best in this unforgettable memoir.

“Insights on love, pleasure, fate, and other topics” collected from conversations with New York City cabbies (AM New York). The worse a town’s economy is, the better looking the guys who work at the local gas station are. I see more of what is going on around me because I am not concerned with finding a parking place. There is no chivalry. For that you have to go upstate. Real taxi drivers know more than how to get you there without a GPS—often, they know how to get you there in life. This twentieth anniversary edition of the wise and hilarious classic, as true now as ever, is a celebration of the witty, philosophical perspective on human nature culled from real quotations from real cab drivers who’ve been around the block.

A drama about a New York cab driver is driven to obsession when he attempts to save a teenage prostitute and embarks on a violent rampage against a world of filth and corruption.

A taxi driver's life is dangerous work. Picking up a bad customer can leave the driver in a vulnerable position, and erring even once can prove fatal. To protect themselves, taxi drivers must quickly and accurately assess the trustworthiness of complete strangers. In Streetwise, Diego Gambetta and Heather Hamill take this predicament as a prototypical example of many trust decisions, where people must act on limited information and judge another person's trustworthiness based on signs that may or may not be honest indicators of that person's character or intent. Gambetta and Hamill analyze the behavior of cabbies in two cities where driving a taxi is especially perilous: New York City, where drivers have been the targets of frequent and violent robberies, and Belfast, Northern Ireland, a divided metropolis where drivers have been swept up in the region's sectarian violence. Based on in-depth ethnographic research, Streetwise lets drivers describe in their own words how they seek to determine the threat posed by each potential passenger. The drivers' decisions about whom to trust are treated in conjunction with the "sign-management" strategies of their prospective passengers—both genuine passengers who try to persuade drivers of their trustworthiness and the villains who mimic them. As the theory that guides this research suggests, drivers look for signs that correlate closely with trustworthiness but are difficult for an impostor to mimic. A smile, a business suit, or a skullcap alone do not reassure drivers, as any criminal could easily wear them. Only if attached to other signs—a middle-aged woman, a business address, or a synagogue—are they persuasive. Drivers are adept at deciphering deceitful signals, but trickery is occasionally undetectable, so they must adopt defensive strategies to minimize their exposure to harm. In Belfast, where drivers are locals and often have histories of paramilitary involvement, "macho" posturing often serves to deter would-be criminals, while New York cabbies, mostly immigrants who view themselves as outsiders, try simply to minimize the damage from attacks by appeasing robbers and carrying only small amounts of cash. For most people, erring in a trust decision leads to a broken heart or a few dollars lost. For cab drivers, such an error could mean losing their lives. The way drivers negotiate these high stakes offers us vivid insight into how to determine another person's trustworthiness. Written with clarity and color, Streetwise invites the reader to ride shotgun with cabbies as they grapple with a question of relevance to us all: which signs of trustworthiness can we really trust? A Volume in the Russell Sage Foundation Series on Trust

In Travis Bickle (Robert De Niro), the Vietnam vet turned New York taxi driver, Scorsese created a character who summed up perfectly the seething discontents of an American still traumatised by Vietnam and Watergate. In the context of director Martin Scorsese's many influences that led to Taxi Driver, from Dostoevsky novels to John Ford westerns and film noir thrillers, and the film's subsequent impact on the work of countless later directors, The Making Of Taxi Driver explores how this modern classic came together. And, looking at some of the myths surrounding the movie, asks why, 30 years on it still has such resonance with contemporary audiences.

From the passenger seat of Sean Singer’s taxicab, we witness New York’s streets livid and languid with story and contemplation that give us awareness and aliveness with each trip across the asphalt and pavement. Laced within each fare is an illumination of humanity’s intimate music, of the poet’s inner journey—a signaling at each crossroad of our frailty and effervescence. This is a guidebook toward a soundscape of higher meaning, with the gridded Manhattan streets as a scoring field. Jump in the back and dig the silence between the notes that count the most in each unique moment this poet brings to the page. “Sean Singer’s radiant and challenging body of work involves, much like Whitman’s, nothing less than the ongoing interrogation of what a poem is. In this way his books are startlingly alive... I love in this work the sense that I am the grateful recipient of Singer’s jazzy curation as I move from page to page. Today in the Taxi is threaded through with quotes from Kafka, facts about jazz musicians, musings from various thinkers, from a Cathar fragment to Martin Buber to Arthur Eddington to an anonymous comedian. The taxi is at once a real taxi and the microcosm of a world—at times the speaker seems almost like Charon ferrying his passengers, as the nameless from all walks and stages of life step in and out his taxi. I am reminded of Calvino’s Invisible Cities, of Sebald’s The Rings of Saturn... Today in the Taxi is intricate, plain, suggestive, deeply respectful of the reader, and utterly absorbing. Like Honey and Smoke before it, which was one of the best poetry books of the last decade, this is work of the highest order.” —Laurie Sheck

Paul Schrader was in meltdown in 1972. Drinking heavily, living in his car, he was hospitalised with a gastric ulcer. There he read about Arthur Bremer's attempt to assassinate Alabama Governor George Wallace: the story was the germ of his screenplay for Taxi Driver (1976). Executives at Columbia hated the script, but when Martin Scorsese and Robert De Niro, who were flying high after the triumphs of Mean Streets (1973) and The Godfather Part II (1974), signed up, Taxi Driver became too good a package to refuse. Scorsese transformed the script into what is now considered one of the two or three definitive films of the 1970s. De Niro is mesmerising as Travis Bickle – pent-up, bigoted, steadily slipping into psychosis, the personification of American masculinity post-Vietnam. Cybill Shepherd and Jodie Foster give fine support and Scorsese brought in Bernard Herrmann, the greatest of film composers, to write what turned out to be his last score. Crucially, Scorsese rooted Taxi Driver in its New York locations, tuning the film's violence into the hard reality of the city. Technically thrilling though it is, Taxi Driver is profoundly disturbing – finding, as Amy Taubin shows, racism, misogyny and gun fetishism at the heart of American culture. In her foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Amy Taubin considers Taxi Driver anew in the context of contemporary politics of race and masculinity in the US, and draws on an exclusive interview with Robert De Niro about his memories of making the film.

One of a series of readers for African students which aims to help them to develop an awareness and a love of language, and consists of stories from all over Africa. In this story taxi driver Baba Oko hopes to make a lot of money on graduation night, and has a few drinks to help him drive faster.

As any traveler knows, some of the best and most honest conversations take place during car rides. So, when a long-time NPR correspondent wanted to learn more about the real China, he started driving a cab--and discovered a country amid seismic political and economic change. China--America's most important competitor--is at a turning point. With economic growth slowing, Chinese people face inequality and uncertainty as their leaders tighten control at home and project power abroad. In this adventurous, original book, NPR correspondent Frank Langfitt describes how he created a free taxi service--offering rides in exchange for illuminating conversation--to go beyond the headlines and get to know a wide range of colorful, compelling characters representative of the new China. They include folks like "Beer," a slippery salesman who tries to sell Langfitt a used car; Rocky, a farm boy turned Shanghai lawyer; and Chen, who runs an underground Christian church and moves his family to America in search of a better, freer life. Blending unforgettable characters, evocative travel writing, and insightful political analysis, The Shanghai Free Taxi is a sharply observed and surprising book that will help readers make sense of the world's other superpower at this extraordinary moment.