THE 1960s NEW YORK ART SCENE CONVERGES ON MAX'S KANSAS CITY
Before legends like Blondie, Lou Reed, David Bowie, Iggy Pop and Bruce Springsteen played to crowds of thousands, they played in Mickey Ruskin's dingy living room on Park Ave South in Manhattan, also known as Max's Kansas City.
At no other time in history has there been such an important collision of art, music and fashion than Max's Kansas City in the 1960s, 70s, and early 80s. The great unknown became simply, The Great.
During its heyday, spending time at Max's Kansas City was the equivalent of getting a graduate art school education.
It was a place when you could stare at Andy Warhol, argue sculpture with John Chamberlain, piss off William S. Burroughs and get a record deal from Clive Davis just by showing up on a Tuesday night.
Every musician, it seemed, was also an artist, every artist a filmmaker and every filmmaker was in a band.
The synergy of art, music and fashion at Max's Kansas City produced an unparalleled number of influential collaborations exactly when the world was ready to embrace visionary creative leadership.