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Harry & Ida’s Luncheonette, in Tribeca, reflects a clash of contemporary and iconic. The pastrami, heftily cut and intricately marbled, is something of a specialty. It’s coated in a pepper-heavy rub and smoked, then served in sandwiches topped with buttermilk-fermented cucumber kraut and cracked rye berries. Pastrami aside, there is trendified luncheonette fare. (Smoked apricot chicken, anyone?) Click the link in our bio for the full review. Photograph by @will_mebane for TNY.

Some British terms for rain, as illustrated by @drawnbytom. ☔️

This week's cover, "October Surprise," by Carter Goodrich. #TNYcovers

A cartoon by @steinbergdrawscartoons, from this week’s issue. Follow @newyorkercartoons for more #TNYcartoons.

There is a fever-dream urgency to the self-portraits in the photographer Zanele Muholi’s recent series, “Somnyama Ngonyama” (which means “Hail the Dark Lioness” in Zulu). In it, she wrests her identity from every gaze except for her own. Click the link in our bio to see more of her work. Photograph by @muholizanele/Courtesy Yancey Richardson Gallery.

A cartoon by @farleykatz, from this week’s issue. Follow @newyorkercartoons for more #TNYcartoons.

One of the great gifts the Met Breuer has given New York has been spotlighting modernists beyond art history’s Eurocentric canon. The latest is Raghubir Singh, the Indian photographer—and color pioneer—who died in 1999, at the age of fifty-six. Born in Jaipur, he lived in Hong Kong, Paris, and London, but India remained his inexhaustible muse. A three-decade survey of his photographs, which includes “Monsoon Rains, Monghyr, Bihar, 1967,” is on show until January 2nd. Photograph courtesy Succession Raghubir Singh.

Money makes these @christiannortheast illustrations go round.

A cartoon by @lianafinck, from this week’s issue. Follow @newyorkercartoons for more #TNYcartoons.

"Autumn in Central Park," a cover by Eric Drooker, from 2009. Follow @condenastarchive for more covers and photos from the past.

When Janice Moses was just nineteen, she joined the photography department at Playboy. “I so badly needed a job that, of course, I had to tell a lie and say, ‘Yeah, I’ve been around nude models before,’” she says. On the New Yorker Radio Hour, she has a heart-to-heart with her daughter, @michelejmoses, about those years—when she felt empowered as a professional, but increasingly uncomfortable with the content. Click the link in our bio to listen to their conversation. Photograph courtesy of Janice Moses.

In the late 1970s, East L.A. swelled with decade-old soul records; Mexican-American teens cruised to oldies in low-rider convoys, forging a youth subculture that was both nostalgic and new. The Colombian-American singer Kali Uchis, who plays Bowery Ballroom tonight and the Music Hall of Williamsburg tomorrow, revives the sound with magnetic, achy soul ballads free of pop glisten. “I set the table for two, maybe it’s ’cause I’m a fool,” she once riffed—for these gigs, she shouldn’t have a problem filling seats. Photograph by @mutedfawn for TNY.

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