Hubbry Logo
Mudd ClubMudd ClubMain
Open search
Mudd Club
Community hub
Mudd Club
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Mudd Club
Mudd Club
Mudd Club
View on Wikipedia
from Wikipedia
Mudd Club plaque on building at 77 White Street, New York City

Key Information

The Mudd Club was a nightclub located at 77 White Street in the TriBeCa neighborhood of Lower Manhattan in New York City. It operated from 1978 to 1983 as a venue for post punk underground music and no wave counterculture events. It was opened by Steve Mass, Diego Cortez and Anya Phillips.

History

[edit]

The Mudd Club was founded by filmmaker Steve Mass, art curator and filmmaker Diego Cortez, and downtown punk scene persona Anya Phillips in 1978.[1] Mass named the club after Samuel Alexander Mudd, the physician who treated John Wilkes Booth in the aftermath of Abraham Lincoln's assassination.[2] To secure the space for the venue, which was a loft owned by artist Ross Bleckner, Mass described the future venue as essentially an art bar cabaret, like Mickey Ruskin's One University Place, itself based on Ruskin's Max's Kansas City.[3]

Mudd Club featured a bar, unisex bathrooms, and an art gallery curated by Keith Haring on the fourth floor.[4] Live performances there included new wave, experimental music, performance art, literary icons Allen Ginsberg and William Burroughs, and catwalk exhibitions for emerging fashion designers Anna Sui and Jasper Conran. Performers included New York no wave bands such as DNA, Rhys Chatham, Nona Hendryx's Zero Cool, the Contortions, Tuxedomoon and Jean-Michel Basquiat's band Gray.[5] In 1979, Talking Heads performed songs from their new album Fear of Music. Tim Page produced several concerts at the Mudd Club in 1981, in an attempt to meld contemporary art music with rock music and pop music. On the dance floor, DJs David Azarch, Anita Sarko and Johnny Dynell played a unique mixture of punk rock, funk music and curiosities. From the start it functioned as a post-punk "amazing antidote to the uptown glitz of Studio 54 in the '70s".[6] Six months after it opened, the Mudd Club was mentioned in People: "New York's fly-by-night crowd of punks, posers and the ultra-hip has discovered new turf on which to flaunt its manic chic. It is the Mudd Club ... . For sheer kinkiness, there has been nothing like it since the cabaret scene in 1920s Berlin".[7] As it became more frequented by downtown celebrities, a door policy was established and it acquired a chic, often elitist hip reputation.

After its first few years, Studio 54 celebrities like Andy Warhol, Grace Jones, Michael Musto, and David Bowie began to show up. In 1981, the Mudd Club's Steve Mass began going to the more informal Club 57 on St. Mark's Place, and began hiring the Club 57 crowd (including Keith Haring[8]) to help draw in the younger and hipper part of the downtown art scene.[9] As a result, the Mudd Club was frequented by many of Manhattan's up-and-coming cultural celebrities. People associated with frequenting the venue included musicians Lou Reed, Johnny Thunders, David Byrne, Debbie Harry, Arto Lindsay, John Lurie, Nico, Lydia Lunch, X, the Cramps, the B-52's, the Bongos and Judas Priest[10] artist Jean-Michel Basquiat and his then-girlfriend Madonna;[11][12] Colab members; performers Klaus Nomi and John Sex; designers Betsey Johnson, Maripol and Marisol Deluna; underground filmmakers Amos Poe, Eric Mitchell, Charlie Ahearn, Vincent Gallo, Jamie Nares, Jim Jarmusch, Vivienne Dick, Scott B and Beth B, Kathy Acker, and Glenn O'Brien; supermodel Gia Carangi; [13] and makeup artist Sandy Linter.

The Kitchen Center Mudd Club poster
The Kitchen Center Mudd Club poster

The Mudd Club closed in the spring of 1983.[14][2] A regular noted, "At the end, it was not much fun anymore. I mean, it had just become—kind of like the hangers-on to the hangers-on at the Mudd Club".[15]

Mass opened another Mudd Club in Berlin in 2001 (located at Grosse Hamburger Strasse 17); this Berlin club was considered an intimate venue for touring bands. In 2007, the arts organization Creative Time placed a plaque on the NYC building to commemorate the club's existence.[16]

On October 28–29, 2010, a 30-year reunion of Mudd Club artists and regulars was held at the Delancey nightclub in Manhattan. Many bands and performers from the Mudd Club and Club 57 performed, including Bush Tetras, Three Teens Kill Four, Comateens and Walter Steading. The Mudd Club reunion was also attended by two of the three original doormen, Joey Kelly (Buddy Love, Magic Tramps, Dive Bar Romeos) and Richard Boch (author and painter) but not the actor/voiceperson Colter Rule, the first doorman (Halloween, '78- June,'79 with Joey Kelly as "security), who was quoted as stating, "I dislike organized partying these days".[17] A memoir by Boch, The Mudd Club, based on his nearly two years working the Mudd Club door, was published by Feral House in September 2017.[18][19]

In pop culture

[edit]

The club has been mentioned in various songs such as "Life During Wartime" (1979) by Talking Heads, "The Return of Jackie and Judy" (1980) by the Ramones, "New York / N.Y." (1983) by Nina Hagen, and "Off the Shelf"(1983) by Elliott Murphy. Frank Zappa included a song named after the club on his 1981 album You Are What You Is. In 2022, Judas Priest issued the CD Live at the Mudd Club ’79 as part of their box set, 50 Heavy Metal Years Of Music.[20]

Also mentioned on Schitt's Creek season 4, episode 4 where Moira mentions to Alexis and Twayla that they remind her of when she would go to the Mudd Club on the Lower East Side.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mudd Club

View on Grokipedia
from Grokipedia
The Mudd Club was a seminal underground and performance venue in New York City's TriBeCa neighborhood, operating from October 1978 to 1983, that epitomized the raw, interdisciplinary spirit of the late-1970s and early-1980s downtown art and music scenes. Located at 77 White Street in a six-story building, it functioned not only as a and bar but also as an informal gallery space, blending music, visual art, film, and performance in an atmosphere of "poor chic" and egalitarian access. Founded by Steve Mass, art curator , and musician , the club opened on Halloween night with a performance by the B-52's, quickly establishing itself as an alternative to the glamour of and the rock-focused . Under Mass's ownership, it hosted a diverse array of acts, including punk and new wave bands like , , and ; avant-garde performers such as , , and ; and early appearances by emerging stars like and Fab 5 Freddy. The venue also featured DJ sets spanning reggae, power pop, and funk—drawing from artists like Blondie, , and —alongside film screenings by and art exhibitions curated by . The club's cultural impact was profound, serving as an incubator for downtown talent and attracting a mix of musicians, visual artists, filmmakers, and writers, including regulars like , , , and , as well as visitors such as , , and . , a filmmaker and regular from the beginning, described it as "a dysfunctional circus that functioned," highlighting its anything-goes ethos through themed events like the Puberty Ball and its role in fostering interdisciplinary experimentation. By the time it closed in 1983—later converted into loft apartments—the Mudd Club had solidified its legacy as a cornerstone of New York’s no-wave and punk movements, influencing the city's creative landscape for decades.

Founding

Origins and Name

The Mudd Club emerged from the vibrant and scenes that flourished in downtown during the late , serving as an underground alternative to the glamorous mainstream venue and the raw punk hub . These scenes rejected the commercial excess of and the established rock circuits, favoring experimental art, music, and performance in gritty, artist-driven spaces. The club's inception reflected the broader cultural shift toward subversive, expression amid New York's economic turmoil, including the city's 1975 fiscal crisis, widespread crime, and affordable rents that enabled artists to occupy abandoned lofts in areas like SoHo and TriBeCa. The name "Mudd Club" was chosen for its ironic and subversive resonance, drawn from Dr. Samuel Alexander Mudd, the 19th-century physician who treated after the and was subsequently imprisoned for aiding the fugitive. This historical reference embodied the club's ethos of rebellion and outsider status, contrasting sharply with the polished spectacle of uptown nightlife and aligning with the movement's disdain for conventional norms. Founder Steve Mass emphasized the name's grounding symbolism, stating it represented "the opposite of those fireworks" associated with Studio 54's extravagant atmosphere. The initial concept for the Mudd Club was conceived in 1977–1978 by Steve Mass, art curator , and punk scene figure , who sought to create a multifunctional space blending music, visual , and within the ferment of Lower Manhattan's loft culture. This period's artistic energy, fueled by economic neglect and cheap industrial spaces, allowed interdisciplinary collaborations that the club would later amplify.

Establishment

The Mudd Club was established in a former industrial loft at 77 White Street in New York City's TriBeCa neighborhood, a six-story building owned by Ross Bleckner, who rented the ground floor and basement spaces to the club's founders for conversion into a venue. The site, previously used for and studios, was transformed with minimal alterations to preserve its raw, gritty aesthetic amid TriBeCa's then-industrial zoning, which restricted entertainment uses but allowed in lofts. Publisher Steve Mass, along with art curator and punk musician , spearheaded the project, securing the location after Mass identified the building's potential for an underground club inspired by Weimar-era cabarets. Mass personally funded the modest renovations and setup, completed on a reported budget of around $15,000, which included installing a basic bar from folding tables, a makeshift stage in the basement, and a bathtub for chilling drinks, creating a dimly lit, no-frills space without extensive structural changes. The club faced early operational hurdles typical of late-1970s New York nightlife, particularly in obtaining licenses and navigating zoning regulations that prohibited commercial entertainment in manufacturing districts, requiring creative workarounds like operating under artist-loft exemptions to avoid city crackdowns on unlicensed venues. It officially opened to the public on Halloween night, October 31, 1978, following a few private preview events, with the name chosen as an ironic reference to Dr. , the physician who treated Lincoln's assassin, symbolizing the club's rebellious ethos.

Venue and Atmosphere

Physical Layout

The Mudd Club occupied the lower floors of a multi-story loft building at 77 White Street in Manhattan's neighborhood, featuring a primary performance and dance space on the ground level, a central bar area, unisex bathrooms located upstairs, and an additional upstairs gallery space initially curated by artist . The interior embodied a raw industrial aesthetic, characterized by exposed walls, gray and black painted surfaces, visible pipes and ductwork overhead, and dim lighting that fostered an unpolished, gritty atmosphere. Furniture and fixtures were makeshift and eclectic, including a long, narrow two-sided bar on the main floor, folding tables repurposed as a secondary bar upstairs with an ice-filled clawfoot tub for chilling drinks, diner-style booths, desks, ratty upholstered seating, and a human-sized steel cage installation, all contributing to the venue's improvisational and bohemian feel. A modular plywood stage, elevated about four feet high, anchored the main space, while the overall layout—with its flexible, open areas for movement and congregation—accommodated capacities of around 300 people, though crowds often swelled beyond this limit to support intimate yet chaotic events like music performances.

Policies and Management

The Mudd Club operated under a selective door policy that prioritized artists, musicians, and members of the scene, often turning away mainstream or disruptive crowds to preserve the club's intimate, creative atmosphere. Doorman Richard Boch exercised significant discretion in admissions, rejecting even high-profile figures like and based on factors such as attitude, appearance, or crowd capacity, which led to accusations of but was defended by Boch as necessary to maintain the venue's vibe. This approach favored the influx of creatives, fostering an inclusive space for the no-wave and communities while avoiding the glamour of uptown clubs like Studio 54. Entry required a that varied by night, typically $3 on weekdays and $5 on weekends during the club's early years, reflecting its accessible yet controlled pricing for the underground scene. The policy emphasized behavioral guidelines over strict dress codes, with the dimly lit, industrial layout allowing for fluid movement and spontaneous interactions among patrons. Administratively, the club was owned and overseen by Steve Mass, who established its foundational ethos, with art curator Diego Cortez handling bookings to ensure a diverse lineup of performances and events tailored to the counterculture. Daily operations, including door management and crowd control, fell to staff like Richard Boch, who reported directly to Mass and contributed to the club's emphasis on raw, unfiltered inclusivity for experimental artists and performers. This hierarchy supported the venue's role as a nexus for downtown innovation, prioritizing artistic freedom over commercial rigidity.

Programming and Events

Music and Performances

The Mudd Club served as a pivotal venue for , , and in from 1978 to 1983, hosting live performances primarily in its main space that emphasized raw, sounds over polished production. The club's programming reflected the downtown underground scene's rejection of mainstream rock conventions, featuring dissonant guitars, improvised noise, and interdisciplinary experimentation that blurred lines between music, , and chaos. These sets often drew small, fervent crowds who engaged directly with performers, fostering an intimate atmosphere where audience members could influence the energy of the show through shouts, dancing, or even impromptu participation. Key performances underscored the club's role in nurturing the no wave movement. In 1979, Talking Heads delivered a set shortly after releasing Fear of Music, capturing their angular post-punk style amid the venue's gritty ambiance. DNA, led by Arto Lindsay, made regular appearances with their abrasive, atonal compositions, as seen in a 1979 live recording that highlighted the band's deconstructed approach to rhythm and melody. Similarly, Lindsay's earlier project Mars performed frequently, contributing jagged, minimalist that epitomized 's anti-commercial ethos. Lydia Lunch, through bands like , presented intense spoken-word-infused music at a notable 1979 show, blending punk aggression with poetic confrontation. Rhys Chatham's guitar ensembles also featured, deploying massed electric guitars for hypnotic, droning improvisations that pushed the boundaries of volume and repetition. The club's musical offerings evolved from the visceral, improvised sets of 1978–1979, constrained by rudimentary sound systems that amplified the rawness of performances, to more structured acts by 1982. This shift allowed for broader appeal while retaining experimental edge, as evidenced by Nona Hendryx's early 1980s appearance with her band , where funk-inflected drew larger, more diverse audiences into interactive frenzies on the dance floor. Overlap with the scene occasionally surfaced in musical contexts, such as Jean-Michel Basquiat's noise band Gray, which performed noisy, synth-driven sets at the club in the late 1970s.

Art and Other Events

The Mudd Club's fourth-floor gallery space, curated by starting in 1978, served as a vital platform for emerging visual artists in New York's downtown scene, transforming the venue into a hybrid gallery-nightclub. Haring, who had previously organized exhibitions at Club 57, was tasked by club founder Steve Mass with overseeing this dedicated art area, which hosted irregular but influential shows amid the club's nocturnal programming. Among the notable exhibitions was the 1981 "Beyond Words" show, curated by Fab 5 Freddy and Futura 2000 at Haring's invitation, featuring graffiti-based works by artists including , , and others, highlighting the intersection of and in an underground context. Earlier that year, Haring himself curated the "Lower Manhattan Drawing Show," which included contributions from and other local talents, emphasizing raw, unpolished drawings that captured the era's urban energy. These displays from 1978 onward positioned the Mudd Club as an incubator for artists who would later achieve global recognition, blending visual art with the club's immersive atmosphere. Beyond static exhibitions, the club programmed film screenings and nights that expanded its cultural scope, often utilizing the venue's raw spaces for experimental presentations. In 1980 and surrounding years, collective members premiered films at the Mudd Club, showcasing underground works that merged narrative experimentation with visual abstraction in a setting conducive to late-night viewings. events, frequently organized by co-founder , featured installations and live actions that interacted with the club's dimly lit environs, such as site-specific pieces that blurred boundaries between spectator and artwork. Archival records document at least six film reels and related media from these activities, underscoring the club's role in supporting explorations. Themed events further diversified the programming, with fashion shows led by Anya Phillips showcasing independent designers' punk and avant-garde garments, often modeled amid the club's eclectic crowd to reflect downtown's stylistic rebellion. Poetry readings also occurred, drawing beat poets and writers for intimate recitals that contributed to the venue's literary undercurrent, as recalled by longtime staff like doorman Richard Boch. These non-musical initiatives, occasionally overlapping with ambient sound elements from downstairs, cemented the Mudd Club's reputation as a multifaceted cultural hub from its opening through the early 1980s.

Key Figures

Founders and Staff

The Mudd Club was co-founded in October 1978 by Steve Mass, an entrepreneur and intellectual provocateur who ran a private ambulance service in and served as the primary owner and financier. Mass, originally from Georgia, drew on his connections in the downtown scene to establish the venue at 77 White Street in , transforming a derelict building into a hub for with a modest initial budget of around $15,000. His vision emphasized an inclusive yet selective atmosphere that blended art, music, and nightlife, influencing the club's no-wave ethos from its opening on . Diego Cortez, born James Curtis in 1946 in , brought his expertise as an art curator and promoter to the founding team, handling bookings, promotions, and artistic direction. After studying film and performance at the School of the , where he earned a , Cortez immersed himself in New York's downtown art world, organizing influential exhibitions and directing music videos for acts like Blondie and . At the Mudd Club, his curatorial skills ensured a diverse lineup of performances and events, fostering collaborations that propelled emerging talents in the no-wave movement. , a Taiwanese-born fashion designer who moved to New York in the , contributed to the club's aesthetic and event programming as a co-founder and central scenester. Known for her bold punk style—including electric blue dresses and coats—Phillips styled musicians like of Blondie and James Chance of the Contortions, shaping the visual identity of the no-wave era while helping curate the club's vibrant, experimental vibe. She died of cancer on June 19, 1981, at age 26. Key operational staff sustained the club's day-to-day functioning through its closure in 1983, with roles ranging from bartending at the narrow to booking diverse acts that kept the energy alive. Richard Boch, who joined as doorman in March 1979 after working as a in , became a pivotal figure in gatekeeping, exercising discretion to maintain the club's intimate, insider atmosphere for over 21 months. A Long Island native and aspiring artist who relocated to in 1976, Boch's experiences, later chronicled in his 2017 The Mudd Club, highlighted the behind-the-scenes challenges and creative synergies that defined the venue's operations.

Notable Visitors and Performers

The Mudd Club, operating from 1978 to 1983, attracted a constellation of cultural icons drawn to its underground exclusivity and avant-garde vibe, distinguishing it from glitzier venues like Studio 54. Regulars such as Andy Warhol frequented the space semi-regularly, appreciating its experimental atmosphere where, as he noted, "mistakes could pass as experiments." Warhol, often described as polite and understated, mingled with the crowd in a low-key manner that belied his celebrity status. Similarly, Grace Jones became a fixture, embodying the club's bold, boundary-pushing energy through her presence at events and in iconic photographs capturing the scene's raw glamour. Debbie Harry of Blondie was another steadfast regular, drawn to the venue's creative ferment; she performed there with her band and socialized in the loft spaces, contributing to the club's pulsating mix of music and art. One-time or sporadic appearances by major figures further amplified the club's allure. , transitioning from upscale spots, visited frequently during his New York stays—up to five nights a week—interacting graciously with staff like doorman Richard Boch, whom he treated like a "prince" despite the late hours and chaotic environment. also dropped in as part of the rotating celebrity circuit, adding to the nights when rock luminaries unexpectedly crossed paths with downtown artists. Early-career attended as a regular in her pre-fame days, sometimes arriving with a suitcase in tow and immersing herself in the club's dance floor and performance scene, where she connected with the emerging talent pool. Emerging artists like and not only visited but actively shaped the club's cultural cachet. Basquiat treated the Mudd Club as a virtual second home from 1978 onward, performing with his noise band Gray, DJing sets, and exhibiting graffiti-inspired works that blurred lines between music, visual art, and performance—his suitcase-laden arrivals became a symbol of the nomadic, inventive spirit. Keith Haring elevated the venue's artistic profile by curating its fourth-floor gallery, which hosted around 100 artists and showcased graffiti and photography, while his own radiant, chalk-like motifs began infiltrating the space; owner Steve Mass even paid him simply to hang out, fostering an environment where such talents thrived. Their involvement, facilitated by founders like Steve Mass who courted downtown influencers, cemented the Mudd Club's role as a launchpad for 1980s New York culture.

Closure

Decline

By the early 1980s, the Mudd Club faced mounting economic pressures exacerbated by New York City's post-1980 , which strained venues through rising operational costs and a sluggish economy. Club owners across the scene reported increased overhead expenses, including utilities and maintenance, amid broader financial downturns that limited attendance and sponsorships. These challenges were particularly acute for downtown spaces like the Mudd Club, housed in a industrial building, where the city's recovery from fiscal crisis began driving up property values and taxes under Mayor Ed Koch's neoliberal policies. Internal strains compounded these external forces, with staff burnout emerging from relentless late-night operations and the club's high-energy, experimental programming. Doorman Richard Boch later described the environment as overwhelming, noting that heavy drug use among patrons and employees created a hazardous atmosphere that prompted his in , as he feared it "was actually going to kill" him. and other downers became prevalent at the Mudd Club, distinguishing it from uptown venues like Studio 54's cocaine-fueled scene and contributing to chaotic incidents that eroded the club's original no-wave ethos. Competition intensified by 1982, as newer clubs like expanded to multiple floors on 21st Street, offering diverse entertainment that drew crowds away from the Mudd Club's more intimate setup. Larger venues such as the Ritz and also vied for bookings, fracturing the live music circuit and leaving underground spots struggling to secure acts. This rivalry highlighted a broader shift in cultural tastes toward commercialized , with attracting wealthier, demographics to polished spaces over the Mudd Club's raw, underground appeal.

Shutdown in 1983

As the Mudd Club entered early 1983, an air of decline permeated the venue, with attendance waning and the once-vibrant countercultural energy fading into a more routine club atmosphere. Steve Mass, the club's founder and owner, decided to wind down operations due to mounting financial pressures, including an inability to match the higher fees paid by competing venues for major acts, compounded by the loss of the club's original underground appeal. The club officially closed its doors in the spring of 1983, marking the end of its five-year run at 77 White Street. In the immediate aftermath, the building reverted from nightlife use to commercial purposes, with its interior later renovated into luxury condominium lofts. Artifacts and memorabilia from the era were preserved in the Stephen Mass Papers, now held by NYU's Fales Library. Former staff, including longtime doorman Richard Boch, transitioned to other pursuits, with Boch later chronicling the club's history in his 2017 memoir The Mudd Club. Mass himself explored new ventures, including a short-lived attempt to revive the brand with Mudd Club Berlin in 2001.

Legacy

Cultural Impact

The Mudd Club played a pivotal role in institutionalizing the no wave movement in downtown New York City from 1978 to 1983, serving as a primary venue for experimental bands such as James Chance and the Contortions, DNA, and Teenage Jesus and the Jerks, which blended punk's raw energy with avant-garde improvisation. As the city's first nightclub to function as a gallery, it hosted interdisciplinary events that fused music performances with visual art exhibitions and film screenings, creating a space where no wave's subversive ethos could thrive amid the economic decline of the era. This venue bridged punk, art, and fashion by attracting a diverse crowd of downtown creatives, including visual artists like and , whose early works and drawings gained significant exposure through club-hosted shows and the "Beyond Words" event in 1981 that celebrated rap and . Co-founder , a key figure in the scene, influenced fashion by styling performers like and promoting a "poor " aesthetic that contrasted sharply with uptown glamour, fostering collaborations among musicians, painters, and designers in an unpretentious environment. In shaping New York City's counterculture, the Mudd Club stood as a gritty antidote to the hedonistic excess of , prioritizing intellectual and artistic experimentation over celebrity-driven , and thereby nurturing a that inspired subsequent venues like Area and . Its cultural footprint extended into popular music, with direct references in ' "Life During Wartime" (1979), which dismisses the club alongside as part of a bygone underground life, and the ' "The Return of Jackie and Judy" (1980), evoking its chaotic allure as a site of punk revelry.

Commemorations

In 2007, the nonprofit arts organization Creative Time installed a at 77 White Street as part of its project "One Day It Will Please Us To Remember Even This," which marked 33 sites across that had inspired creative endeavors over the previous three decades. The Mudd Club site, designated as Site 12, was highlighted for "ruling the night," with an accompanying by critic Linda Yablonsky emphasizing its role in downtown's underground scene. A 30th anniversary reunion event for the Mudd Club took place on October 28–29, 2010, at The Delancey nightclub in , bringing together former artists, performers, and regulars for performances and reminiscences. The event featured acts such as the Comateens and , organized by club associate Tessie Chua to evoke the original venue's spirit. Complementing these gatherings, in 2017, former doorman Richard Boch published the memoir The Mudd Club, offering detailed insider accounts of the club's operations, clientele, and cultural milieu through diary-like entries and photographs. In 2024, 80WSE Gallery at presented the exhibition "Mudd Club 1978-1983: The Stephen Mass Papers" from February 3 to March 9, drawing on recently acquired archival materials from the Fales Library and Special Collections to showcase ephemera, documents, and artifacts related to the club's founding and activities. The display highlighted founder Steve Mass's personal papers, including correspondence and event records, underscoring the venue's enduring archival significance. Meanwhile, a short-lived branch of the Mudd Club, opened by Mass in 2001 at Grosse Hamburger Strasse 17 as an intimate space for touring bands, operated until its closure in 2011, with no subsequent revivals or active iterations noted as of 2025.

References

  1. https://www.nytimes.com/2015/11/26/fashion/the-mudd-club-comes-back-to-life-for-one-night.html
  2. https://www.schirn.de/en/schirnmag/new-york-downtown-and-mudd-club-context-en/
  3. https://www.nytimes.com/2017/08/25/style/mudd-club-doorman-bowie-basquiat.html
  4. https://theclio.com/entry/114082
  5. https://www.audacy.com/alt923/blogs/postmodern-with-scott-lowe/remembering-the-mudd-club
  6. https://www.vanityfair.com/news/1987/05/studio-54-nightclub-new-york-city
  7. https://www.nytimes.com/2020/11/12/obituaries/anya-phillips-overlooked.html
  8. https://www.chronogram.com/arts/richard-boch-recounts-punk-past-in-new-book-the-mudd-club-5902136/
  9. https://www.hmdb.org/m.asp?m=131069
  10. https://taostyle.net/2017/09/full-circle-city/
  11. https://www.abandonedspaces.com/public/former-music-clubs-and-venues-around-new-york-city-with-an-iconic-status.html
  12. https://soar.suny.edu/bitstream/handle/20.500.12648/13866/3382_ivan.arias.pdf?sequence=1&isAllowed=y
  13. https://pleasekillme.com/the-mudd-clubs-richard-boch/
  14. https://www.theguardian.com/artanddesign/2021/jul/14/diego-cortez-obituary
  15. https://www.quietlunch.com/warhol-bowie-and-basquiat-walk-into-a-bar-the-mudd-clubb-by-richard-boch/
  16. https://rucore.libraries.rutgers.edu/rutgers-lib/41503/PDF/1/
  17. https://www.nytimes.com/1979/04/21/archives/making-the-scene-at-the-mudd-club-dancing-with-a-zucchini-its-a.html
  18. https://pitchfork.com/features/article/6764-no-the-origins-of-no-wave/
  19. https://www.nytimes.com/2018/07/18/theater/this-aint-no-disco-mudd-club.html
  20. https://fromthearchives.com/ll/discography1.html
  21. https://www.nytimes.com/1982/11/12/arts/dance-and-music-clubs-thriving-in-era-of-change.html
  22. https://www.theguardian.com/film/2018/jun/19/boom-for-real-jean-michel-basquiats-mudd-club-gray-band
  23. https://viralart.vandalog.com/read/chapter/the-mudd-club-and-beyond-words/
  24. https://gallery98.org/2018/mudd-club-futura-2000-beyond-words-card-1981/
  25. https://wojfound.org/scholarship/exhibitions-1982-92/
  26. https://80wse.org/exhibitions/mudd-club-1978-1983
  27. https://responsejournal.net/issue/2018-11/feature/after-dark-performance
  28. https://pleasekillme.com/heres-mudd-club-in-your-eye/
  29. https://www.artforum.com/news/diego-cortez-1946-2021-250158/
  30. https://whitehotmagazine.com/articles/diego-cortez-1946-2021/5062
  31. https://hvmag.com/things-to-do/mudd-club-book/
  32. https://www.wmagazine.com/gallery/mudd-club-pictures-paddle8
  33. https://feralhouse.com/the-mudd-club/
  34. https://www.timlawrence.info/articles2/2013/7/16/big-business-real-estate-determinism-and-dance-culture-in-new-york-1980-88-journal-of-popular-music-studies-23-3-2011-288-306
  35. https://read.dukeupress.edu/books/book/2230/chapter/280358/All-We-Had-Was-the-Club
  36. https://daily.redbullmusicacademy.com/2016/10/danceteria-nightclubbing/
  37. https://findingaids.library.nyu.edu/fales/mss_592/
  38. https://hyperallergic.com/255668/the-refined-sloppiness-of-a-no-wave-cinema-gem/
  39. https://www.centrepompidou.fr/en/collection/film-and-new-media/who-you-staring-at
  40. https://archive.nytimes.com/www.nytimes.com/library/magazine/specials/20010225mag-muddquake.html
  41. https://nypost.com/2010/10/24/its-name-was-mudd/
  42. https://creativetime.org/programs/archive/2007/one_day/
  43. https://comateens.com/2010/11/13/comateens-perform-at-mudd-club-reunion/
Add your contribution
Related Hubs
User Avatar
No comments yet.