The Farewell Drugs (Reed, Chimpy, Johnny and Sloane) were the worst behaved band on the Lower East Side: heroin snorting, groupie abusing, shoplifting, drug dealing, sexist, racist misanthropes. But they had talent. When beleaguered record industry executive Hella Hecht endeavors to make them over, she finds wild success, marketing them as The Skatekeys, a boy band full of clean cut and polite young troubadours. The Drugs play along but slowly and surely, their old ways creep back in with deadly results. A rock and roll industry farce with a little too much of an edge. "Spitz exploded onto the Ludlow Street theater scene... their first production, 1998s's Retail Sluts depicted the SoHo class struggle: kids working in high-end boutiques selling overpriced hipster clothes to tourists." -Tom Murrin, Paper Magazine

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

Four old college friends reunite in Manhattan and what starts as a stiff and awkward game of catch up devolves into a drug and rancor soaked mess when old rivalries and affections boil to the surface; abetted by drugs, professional jealousies, a new cultural divide and the arrival of their favorite college professor; a famous and deeply troubled novelist with a pretty, young girlfriend and a mysterious box in tow. Twenty years on, class is back in session and if they can get out of this cocktail party alive, they just might learn something of value once again. A dark look at the peril of the aging hipster and what it means to be an artist, a parent and a "perennial favorite" and how challenging it is to remain intimate and engaged in your surroundings in middle age. You don't have to remember 1993 to relate but it doesn't hurt. "Marc Spitz is one of my favorite playwrights; I have been to at least half of his dozen plays, and I have never been disappointed. He knows how to shake people up; make them laugh, gasp and gag. Expect bad taste, bad language, snappy dialogue, theatrical surprises and maybe something that really grosses you out." -Tom Murrin, Paper Magazine

The story of Marc Spitz's journey from impressionable teen to heroin addict to respected rock journalist.

Walter Dabney thinks he's being practical when he ingests a recreational erectile dysfunction drug called Themis. It will, he reasons, allow him to have a quickie with Annie, his mistress, before his wife returns with her family for a long planned celebratory supper. Only Walter is that guy you wonder about: the one who actually gets the four hour erection they warn you about in those commercials. He must now navigate the aforementioned dinner and the spontaneous arrival of all kinds of random New York City visitors, while keeping a raging and un-lowerable erection in his pants. A madcap sex farce with a case of over a dozen, it examines notions of fidelity, self control, art and whether better living through chemistry is truly better after all. "Marc Spitz is one of my favorite playwrights; I have been to at least half of his dozen plays, and I have never been disappointed. He knows how to shake people up; make them laugh, gasp and gag. Expect bad taste, bad language, snappy dialogue, theatrical surprises and maybe something that really grosses you out." -Tom Murrin, Paper Magazine

Clarence, Tony and Dommy work in a posh clothing store in New York's retail capital of SoHo. They're surrounded by fabulous people, drape themselves in the latest fashions, but they take home tiny pay checks and cannot numb themselves enough with drugs, alcohol, cheap sex and even cheaper fads. As 30 approaches fast, they must fact the dying dreams, face their greatest fears, and reckon with the various firebrands, zealots and sugar mommas who make up the women and men in their lives. All day long, they must ask customers, "Can I help you?" but these guys can barely help themselves. With the world collapsing around them, they must depend on each other to survive another weekend shift. It's the story of friendship, frocks and five dollars an hour self esteem. "Marc Spitz is one of my favorite playwrights; I have been to at least half of his dozen plays, and I have never been disappointed. He knows how to shake people up; make them laugh, gasp and gag. Expect bad taste, bad language, snappy dialogue, theatrical surprises and maybe something that really grosses you out." -Tom Murrin, Paper Magazine

Bug Blowmonkey does so much cocaine that he has developed a friendship with one of his chemically induced hallucinations: the confused but still righteous ghost of Marvin Gaye. Estranged from the one woman he had feelings for, Bug begins to question his compulsion to get so numb and frigid. When he meets a new woman, he tries to strip away the icy, hipster facade and accept her for who she is: and not the idealized Vertigo-style duplicate of the pristine ghost he needs to break away from. Will he break away from Marvin Gaye as well? And just how will Marvin take this? A hallucinatory, funny, sad drug dream about longing and the slippery grip on "self help." "Marc Spitz is one of my favorite playwrights; I have been to at least half of his dozen plays, and I have never been disappointed. He knows how to shake people up; make them laugh, gasp and gag. Expect bad taste, bad language, snappy dialogue, theatrical surprises and maybe something that really grosses you out." -Tom Murrin, Paper Magazine

It was supposed to be a routine promotional appearance: an aspiring writer appears on a cable news or entertainment network to film a talking heads expert spot in order to promote one of his recently published articles. When face to face with the routine manipulations and blunt agendas that elicit the soundbytes we routinely see as part of our daily info-tainment, he is horrified and decides to rebel, only to realize that he is essentially violating the order of the entertainment universe and there are rewards for playing the game and deadly consequences for resisting. You will never watch an I Love the 90s episode again without wondering what's going on behind the scenes. "Mr. Spitz has written racy, insidery plays about junkies, pimps and rock stars. They were sloppy, but it didn't matter. Who wants a well made play about pornography or Joy Division's Ian Curtis anyway?" -Jason Zimonan, The New York Times

The pressures of life in a post 9/11 world are starting to effect suburban dad Mort Williams in a strange way. His wife has left him and the only two people he can relate to are his unscrupulous plastic surgeon and his "tween" next door neighbor. Eventually the fact that Mort is slowly turning into Michael Jackson becomes a problem that his two grown sons must deal with; even as one has become a survivalist and the other is trying to convince his French girlfriend to keep their baby. Bleak and brutal with moments of wild humor, and the occasional shout of "Wooo!," this dark comedy embodies the spirit of a stunned city, struggling to piece life back together. "The Spitz aesthetic is proudly trashy and puerile, dedicated to slapstick and tasteless jokes, sort of like Mel Brooks if he listened to Joy Division. But Spitz's newest, Gravity Always Wins, turns out to be - hold on to your trucker hat - a domestic comedy with absolutely no onstage sex, violence or drugs. In truth Spitz's past works always hid a streak of sweetness, beneath the corrosive comedy lurks a romantic soul." -David Cote, Time Out New York

Winston Frame is the self described, urban "poet of death and despair." Young, dour, pale and handsome, he is, much like Ian Curtis of Joy Division, also haunted and suicidal. When the pressure of impending success, fatherhood and an affair get too much, he hangs himself. Only his journey is not quite over. Winston finds himself in Purgatory, which is a Weimar style cabaret full of animal acts, exhausted chanteuses and the borscht belt comic Bobby Lemondrops. His guide is "Mad Simon," who seems intent on keeping Winston's damned soul out of Hell. Simon's agenda is hidden but we get the idea that this is no ordinary tour guide. It's A Wonderful Life meets 24 Hour Party People, I Wanna Be Adored is as strangely sweet as it is delirious and austere. "Beginning with a series of punchy and surprising scenes that include a woman getting spanked with a trout, a fight and a striptease by a wheelchair bound woman, the show maintains a gleefully racy tone throughout." -Jason Zinoman, Time Out New York