In New York City’s vibrant culture, only a handful of names become truly synonymous with the city itself. For decades, Michael Musto has been one of them. He’s the decoder of its glitz, the interpreter of its grit, and the keeper of its gossip. You might recognize him as the sharp-tongued commentator from TV, but for New Yorkers, he’s something more fundamental: the ultimate insider that matters.
That indispensable voice now has a new home. Musto’s monthly column for RAG MAG carries on his tradition of chronicling the city’s pulse, weaving together the worlds of nightlife, Broadway, and downtown attitude with the same mischievous style that made him a legend.
For nearly 30 years, his iconic "La Dolce Musto" column in The Village Voice was the city’s unofficial diary. If you wanted to know who was trading secrets in a shadowy club or which Broadway show was about to unravel, you read Musto. He revealed a hidden New York, the one that really came alive after the tourists went home.
What makes Musto’s writing stand out is a unique mix of qualities. His razor-sharp wit and vast knowledge of pop culture are matched by genuine empathy. He never hesitates to poke fun at the powerful, yet he sticks up for artists and outsiders. Underneath it all is a strong ethical code that means no punching down and a clear respect for what should and shouldn’t be shared.
His reporting is shaped by experience, not distance. He didn’t watch nightlife from afar — he dove right in, notebook in hand, from the wild club scene of the '80s to today’s social media-driven parties. He understood early that New York’s real conversations play out on dance floors and in green rooms. That closeness gives his work rare authenticity. He doesn’t chase culture — he’s there when it sparks.
Musto is also a natural bridge, moving easily between the city’s different worlds. One night, he’s at an uptown gala; the next, it’s an underground drag show in Brooklyn. He doesn't just report events, he deciphers the power plays, showing how these separate scenes connect and influence each other. He follows who’s rising, who’s reinventing, and why a fleeting moment can matter.
His work also includes books. His collections Fork on the Left, Knife in the Back, and La Dolce Musto are widely available, while earlier works like Downtown and Manhattan on the Rocks are now limited-edition publications. But his presence goes beyond print. On TV, radio, and social media, Musto is always active with sharp takes and sly observations, often spotting the next big thing before everyone else.
I reached out to Musto for an interview, unsure he’d have the time. He replied with the generosity that has long defined his career — one built on showing up, paying attention, and telling the truth with serious style. I also discovered he’s a genuinely kind person. Here are his answers to the questions I asked.
Frank Gaimari: Reflecting on your early days at The Village Voice, was there a defining moment in a nightclub that made you realize nightlife was more than just fun — it was serious cultural territory?
Michael Musto: It was even before I collaborated with The Village Voice. On New Year's Eve of 1977, heading into 1978, I was at the world’s ultimate disco — the glittering Studio 54 — for an explosive extravaganza starring disco goddess Grace Jones. The place was packed like sardines. Jones performed her Euro dance hits in a skimpy outfit as barely dressed, slender young men cavorted around her. After the show, workers pushed a pancake-making machine down the aisles, stopping to crank out one pancake at a time while thousands watched eagerly — the invite had promised breakfast, after all.
Watching this desperate, absurd event unfold, it became clear that not only was 1977 over but that logic and reason were gone too — paving the way for the future to crash in and eventually wipe everything out. The owners went to jail for tax evasion in 1980, and the club eventually changed hands and met a painful death.
In the 1990s, seeing the club kids stage weekly debauches at the church-turned-disco The Limelight had a similarly sobering effect on me. This was about much more than just “nightlife.”
FG: Your reporting is famously firsthand. How do you verify a rumor picked up at a party? What ethical lines do you refuse to cross, even when the night gets wild?
MM: Through experience, I learned which sources to trust and, conversely, which ones have an agenda — such as self-promotion or delusions of grandeur — and should be avoided like the plague. Then, I check with the other side for balance. If something is too outrageous — but all too true — I generally can’t wait to run it, especially when it concerns homophobes and other haters who have lived their lives in vicious and hypocritical ways.
Of course, I was never going to run anything too nasty about, say, Angela Lansbury — and there never was anything on her anyway, except that she cursed like a truck driver.
FG: You’ve witnessed NYC nightlife transform from the wild club days of the ’80s to today’s social-media-savvy scene. What’s changed most, and what has stayed the same at its core?
MM: What has changed the most is the sense of urgency. The main reason for going to clubs used to be the need to connect with people, enjoy new music, and catch drag queens who weren’t yet TV stars. The sexual landscape has also shifted dramatically — back then, you went to clubs to size up potential flings or even future husbands.
All of that eventually moved online to apps. Now, when I see guys in gay bars glued to their phones searching for hookups, I want to yell, “Look up!” Still, the heart of nightlife remains the same: there’s something about being swept up in a diverse crowd on a dance floor that’s always worth leaving the house for.
FG: With platforms like Instagram and TikTok broadcasting nightlife in real time, has this democratized or watered down the art of nightlife reporting?
MM: Every type of gossip reporting — including nightlife reporting — has been democratized by social networks. I used to compete with a handful of columnists who covered the scene. But nowadays, anyone on earth can leave the house, run into a celebrity, lift their phone, and become a reporting star. Even the celebrities themselves are in on the game, posting about themselves all day. And it’s all fine! Ease and accessibility are good things when it comes to information dissemination. And it only makes me work harder to push, define, and polish my personal take on things, which can never be replicated.
There were times when I was the only openly Gay gossip columnist in NYC, and I must say I’m thrilled that that could never be the case again. Everyone’s out of the closet, for fear of dishing other people’s tea and not their own! But I can still be the best openly Queer columnist in town!
FG: Your books take your experiences from the page to a different format. What inspired your move from columns to writing books?
MM: The columns were always my home base for sharing my takes on everything, but it was also exciting to branch out into books that let me riff on a single topic. Downtown and Manhattan on the Rocks were my wildly over-the-top explorations of the downtown scene — the latter being a roman-à-clef novel. The books also served as convenient collections where people could sample my work in one place. Even though some of my columns and articles were available online, readers were still eager to buy compilations, appreciating the orderly presentation and the addition of new material.
FG: You’re a familiar face on TV and radio. How do you shift your approach or persona when you move from writing to live broadcasting?
MM: Either way, I am the same person — I move from one venue to another. The talking version of me is more fun than the writing me, which takes a lot of effort and editing. By talking to a camera, I can use my past training and turn my shtick into gab. I become the Michael who breathlessly shares what he just learned with his friends, rather than the literary guy crafting elaborate double entendres out of every word.
FG: Of all the celebrities you’ve interviewed, is there one you wish you’d pressed further? What would you ask them now, given the chance?
MM: One of the few celebrities I’ve never had the nerve to approach is Meryl Streep. We’ve been in the same room — I’ve spotted her — and the proverbial door was wide open for me to go over and gush something appreciative, but I freeze every time. I think the main reason is: What can you possibly say to Meryl Streep? I’m sure she’s never heard “I love your work” before. Bwahaha. Maybe now I’d prod her with, “Did you realize, at the time, just how truly awful The House of the Spirits would be?”
FG: How do you handle criticism of your work?
MM: Very poorly. For someone who can exhibit such an acid tongue, I have very thin skin when it comes to my own work. I don’t like being attacked out of jealousy, rivalry, or misinformation. That said, I’ve gotten much better about handling criticism, because as time goes on, more people seem to think you’re some darling old “icon” who is above reproach — though they’re not exactly sure what it is you’ve accomplished, lol.
FG: Has anyone ever threatened you because of what you've written about them?
MM: Someday, let's have a chat. Your hair will stand on end.
FG: What’s your number one piece of advice for young journalists who want to cover the culture and nightlife of New York with the same depth as you?
MM: Don’t assume you can indulge in the glitziest, most hedonistic temptations you’ll be covering — like drugs and all-nighters — without self-control and expect everything to turn out fine. To this day, I don’t do drugs — except for the occasional Advil — and that’s what keeps my mind fresh and reliable.
FG: You’ve adapted your voice across columns, books, and TV. What’s next for Michael Musto? Any new projects or books on the horizon?
MM: When I was in my thirties, I used to joke that people might have to hand-lift me into clubs when I turned 40. Well, I’m turning 70 now!!! And I’m still making the same joke. I have the ideal job, where I get to experience incredible culture — not just clubs, but also theater, movies, and Queer culture — and write whatever I want about all of it. I’m also very immersive: I perform in various shows around town, and I get to appear on TV channels as a commentator. So, I’ll keep doing all the same things as before, thank you! That is my life’s project.
Michael Musto isn’t just New York’s king of gossip — he’s its unofficial historian, capturing the city’s fleeting moments and unforgettable personalities. His work is a living archive, a guidebook for anyone who wants to experience the city’s pulse beneath the surface. If you want to know the real New York — the one that starts when the sun goes down — start with Musto. His stories are where the city’s best secrets live.
You can find Michael Musto at RAG MAG, or on Facebook and Instagram.
Frank Gaimari is an author and film reviewer in Seattle, where he lives with his husband and their two golden retrievers. Learn more about his work at http://www.FrankGaimari.com .
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