First-wave underground scenes interpenetrated through mutual favors and overlapping venues

Evidence

Actually, the Fugs were in the far-advanced vanguard. With the announcement that, “there has never been any thing [sic] like the FUGS in the history of western civilization!!,” the band made their official debut on a cold Wednesday night in February at the grand reopening of the packed Peace Eye bookstore (383 East Tenth Street) and general celebration of Fuck You’s third anniversary “Mad Motherfucker” issue—“Seventy pages of editorial screams, porn, poetry, and freak-vectors.” The cover was a frame-enlargement from Andy Warhol’s “pornographic” movie Couch. Having conquered the underground in late 1964, the Warhol Factory was that night a subliminal presence. Sanders had asked Warhol to help decorate the opening. Furnished with some cloth bolts from Orchard Street, the Factory silk-screened bursts of poppies on three banners to adorn the Peace Eye’s walls. — J. Hoberman, Everything Is Now, 664

Categorization

• XREF: connects to: Popular music scenes depend on discrete physical spaces and temporal occasion that cyberspace erodes — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1264